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Introduction
My name is Mersad Fazeli, I’m a 3D Environment Artist. In 2019, I joined two of my friends, and we started our indie game studio. At first, we started with 2D games and pixel art style in Unity, we even published a pixel art mobile game in Iran’s android local market, but after many trials and errors in vector art, raster art, etc., we decided we want a different challenge, so we moved on to Unreal and 3D art in 2020.
介绍
我的名字是Mersad Fazeli，我是一名3D环境艺术家。2019年，我和我的两个朋友一起，创办了独立游戏工作室。起初，我们从Unity中的2D游戏和像素艺术风格开始，我们甚至在伊朗的Android本地市场发布了像素艺术手机游戏，但在矢量艺术，光栅艺术等方面进行了多次尝试和错误之后，我们决定想要一个不同的挑战，所以我们在2020年转向虚幻和3D艺术。
I took many courses at that time, but the most valuable one was Gnomon Workshop's Stylized Castle course. After that, I started an environment inspired by the Golden Temple from Ghost of Tsushima but unfortunately, I misjudged the scope of the project. However, I managed to finish that project at the cost of quality.
当时我选修了许多课程，但最有价值的是Gnomon Workshop的风格化城堡课程。在那之后，我开始了一个受《对马岛幽灵》中金庙启发的环境，但不幸的是，我误判了项目的范围。但是，我设法以牺牲质量为代价完成了该项目。
After that, I met Ehsan Ebrahimzadeh, Senior Environment Artist at Arkane Studios, and I participated in his mentorship class. I worked on “Church” during the mentorship and I learned so many things. I believe that was a crucial turning point in my carrier, after that, I put all of my experience and knowledge from previous projects into Wood Cutter’s Hut.
之后，我遇到了Arkane Studios的高级环境艺术家Ehsan Ebrahimzadeh，我参加了他的指导课程。在导师制期间，我从事“教会”工作，我学到了很多东西。我相信这是我的航母的一个关键转折点，在那之后，我把我以前项目的所有经验和知识都投入到Wood Cutter's Hut中。
Unreal Engine
I chose Unreal Engine for this project because I have a fair amount of experience with it. The reason that I chose it in the first place for my personal projects is that it’s more commonly used by environment artists and there are more resources and courses for Unreal Engine, for example “Building a Stylized Environment” by Gnomon Workshop combined with Unreal learning library is a great kick-starter for Unreal Engine.
虚幻引擎
我选择虚幻引擎作为这个项目，因为我有相当多的经验。我首先为个人项目选择它的原因是，它更常被环境美术师使用，虚幻引擎有更多的资源和课程，例如Gnomon Workshop的“构建风格化环境”与虚幻学习库相结合，是虚幻引擎的一个很好的启动器。
The Wood Cutter's Hut Project
For my latest project, I had a clear picture of what I wanted to do. The goal was to make a fairly small-scale environment with a focus on sculpting, trims, texturing, lighting, and color, so the concept by Kong Wenjie was perfect. It is clear in terms of shapes, textures, and style, so I didn’t have to use too many references. I had a PureRef file for every section containing the main concept and a few other shots; the key point was to avoid extra shots so I could remain focused on the main concept style. Here are some of my Pure Ref files.
木匠小屋项目
对于我的最新项目，我对我想做的事情有了清晰的了解。目标是制作一个相当小规模的环境，重点是雕刻，装饰，纹理，照明和色彩，因此孔文杰的概念是完美的。它在形状，纹理和样式方面很清楚，因此我不必使用太多参考。我为每个部分都有一个PureRef文件，其中包含主要概念和其他一些镜头;关键是要避免额外的镜头，这样我就可以专注于主要的概念风格。以下是我的一些纯参考文件。
Modeling
In this scene, almost every model needed to be sculpted and baked using trims, and working non-destructively was important. I made two different trim sets containing tilling and non-tilling and some unique meshes because I wanted to have some close-up shots, so avoiding stretching and repetitive look was necessary.
Another key factor for achieving this goal is low poly modeling, by which I mean small twists, bends, and displacements that change the silhouette of the mesh. This technique is very effective and it can change your repetitive and boring trims into interesting and unique meshes. Here are some shots before and after the low poly modeling pass.
建 模
在这个场景中，几乎每个模型都需要使用装饰进行雕刻和烘焙，并且非破坏性地工作很重要。我做了两个不同的修剪集，包含耕作和非耕作以及一些独特的网格，因为我想有一些特写镜头，所以避免拉伸和重复的外观是必要的。
实现这一目标的另一个关键因素是低多边形建模，我的意思是改变网格轮廓的小扭曲，弯曲和位移。这种技术非常有效，它可以将重复和无聊的修剪变成有趣而独特的网格。以下是低多边形建模通过前后的一些镜头。
Other models were created in standard low poly, high poly, and baking workflows. I either created low poly myself or used ZBrush's Decimation tool. I use Blender as my modeling package, which is not the best modeling package for UVing but with Texel Density, ZenUV, UV Toolkit, and UVPackmaster, Blender is as good as any other modeling software. These plug-ins saved me a ton of time during this project.
其他模型是在标准的低聚、高聚和烘焙工作流程中创建的。我要么自己创建低多边形，要么使用ZBrush的抽取工具。我使用Blender作为我的建模包，这不是UVing的最佳建模包，但是使用Texel Density，ZenUV，UV Toolkit和UVPackmaster，Blender与任何其他建模软件一样好。在这个项目中，这些插件为我节省了大量时间。
Sculpting
I kept my sculpting simple to avoid surface noise because having flat surfaces helps to make sweet contrast and helps your sculpted details to pop. For this project, I didn’t use anything fancy, just ZBrush's default brushes and Orb brushes.
One thing that helped a lot was separating base meshes for models like stumps and logs to have more control over caps and barks. After exporting the high poly, I used DynaMesh to create a single mesh in order to make the low poly using Decimation Master.
雕刻
我保持雕刻简单以避免表面噪音，因为平坦的表面有助于产生甜美的对比，并有助于您的雕刻细节弹出。对于这个项目，我没有使用任何花哨的东西，只是ZBrush的默认画笔和Orb画笔。
有一件事很有帮助，那就是为树桩和原木等模型分离基础网格，以便更好地控制瓶盖和树皮。导出高多边形后，我使用 DynaMesh 创建单个网格，以便使用抽取主数据制作低多边形。
Texturing
I wanted my environment to look as close as possible to the concept, so the textures were important and I had a very iterative prosses for textures. Except for my hand-painted texture atlas that contains my leaves and flowers, all other textures are procedural.
纹理
我希望我的环境看起来尽可能接近这个概念，所以纹理很重要，我有一个非常迭代的纹理。除了包含我的叶子和花朵的手绘纹理图集外，所有其他纹理都是程序性的。
In the early stages of making each texture, I always import the texture into Unreal, this way I can get a sense of what my texture looks like in the engine. I believe this really helps in every project because sometimes you spend hours making a texture without knowing what it looks like in your environment and you can always reimport your textures, so there are no costs.
在制作每个纹理的早期阶段，我总是将纹理导入虚幻引擎，这样我就可以了解我的纹理在引擎中的样子。我相信这对每个项目都有帮助，因为有时你花几个小时制作纹理而不知道它在环境中的样子，你可以随时重新导入纹理，所以没有成本。
At some point, I duplicated my main camera and in post-processing of the duplicated camera, turned the saturation off so I could see values easily. The other tool that helped me to deal with the values and colors was Just Color Picker. JCP is a less-known free software that captures color data of any pixel on the screen and allows you to bookmark colors.
在某些时候，我复制了我的主相机，并在复制相机的后期处理中关闭了饱和度，以便我可以轻松看到值。另一个帮助我处理值和颜色的工具是Just Color Picker。JCP是一个鲜为人知的免费软件，它可以捕获屏幕上任何像素的颜色数据，并允许您为颜色添加书签。
Keeping consistent style in textures is one of the most challenging parts of making stylized art, but making some rules for your texturing prosses will help you to retain your style. For example, I had very simple and smooth Normal maps but detailed Base Colors with some lighting information.
在纹理中保持一致的风格是制作风格化艺术中最具挑战性的部分之一，但是为纹理制作一些规则将帮助您保持风格。例如，我有非常简单流畅的法线贴图，但详细的基色和一些照明信息。
I also tried to use certain patterns and custom Grunge maps and shades of warm and cool colors in every texture.
我还尝试在每个纹理中使用某些图案和自定义Grunge贴图以及暖色和冷色的阴影。
The Shaders
The water shader in this scene is the first water shader that I had created, so I was kind of worried about that, but with some tutorials on YouTube, I easily made a water shader using Single Layer Water in Unreal Engine 5, which can interact with objects in the scene using Mesh Distance Field.
着色器
这个场景中的水着色器是我创建的第一个水着色器，所以我有点担心，但是通过YouTube上的一些教程，我轻松地使用虚幻引擎5中的单层水制作了一个水着色器，它可以使用网格距离场与场景中的对象进行交互。
The grass shader was also very fun to make. I used a mask for the wind pattern and virtual texturing to blend them with the terrain. Here is a tutorial that will let you make a grass shader very similar to mine:
草地着色器也非常有趣。我使用蒙版画风和虚拟纹理将它们与地形混合在一起。这是一个教程，可以让你制作一个与我的非常相似的草着色器：
The Lighting
The lighting in this scene was quite simple as I only had one light source and one fake light to exaggerate global illumination. I used ray tracing for the lighting method because I had some problems with the shadows of small objects with Lumen. Here are the settings that I chose for my directional light and post-processing.
照明
这个场景中的照明非常简单，因为我只有一个光源和一个假光源来夸大全局照明。我在光照方法中使用光线追踪，因为我在使用流明的小物体的阴影方面遇到了一些问题。以下是我为定向光和后期处理选择的设置。
The roof tiles were adding too much noise at some point, the issue was the ambient occlusion between tiles, so I had to get rid of them. One common solution was to use tilling textures instead of the actual mesh and use the meshes on top of the texture wherever I wanted to have more lighting information. The problem with this solution was I wanted close-up shots from the hut and I didn't want the roof to look so flat. I edited the normals of my roof tiles and aligned them in a way that there would be less AO information between them. This way, I had a uniform look from a distance and a nice look from a close range.
屋顶瓦片在某些时候增加了太多的噪音，问题是瓦片之间的环境光遮蔽，所以我不得不摆脱它们。一种常见的解决方案是使用耕作纹理而不是实际的网格，并在我想要获得更多照明信息的地方使用纹理顶部的网格。这个解决方案的问题在于，我想要从小屋里拍摄特写镜头，我不想让屋顶看起来那么平坦。我编辑了屋顶瓦片的法线，并以一种减少它们之间的AO信息的方式对齐它们。通过这种方式，我从远处看均匀，从近距离看一看。
Conclusion
In the end, I’m pretty happy with the results and the things that I learned from this project, so I strongly recommend anyone who wants to test a new art style or focus on quality to choose a diorama.
Getting feedback constantly is one of the most important things in art, I was getting it from my family, friends, and most importantly my mentor, Ehsan, whose contribution changed my environment massively.
My main advice for every new artist would be to find a mentor or get feedback in communities like Dynasty Empire, where there are many good artists willing to help.
结论
最后，我对结果和我从这个项目中学到的东西非常满意，所以我强烈建议任何想要测试新艺术风格或专注于质量的人选择立体模型。
不断获得反馈是艺术中最重要的事情之一，我从我的家人，朋友那里得到反馈，最重要的是我的导师Ehsan，他的贡献极大地改变了我的环境。
我对每个新艺术家的主要建议是找到一位导师，或者在像王朝帝国这样的社区获得反馈，那里有很多优秀的艺术家愿意提供帮助。
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