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Introduction
My name is Tommy Hallam, I am a newly graduated 3D Environment Artist from Escape Studios. I got into 3D art four years ago when I started studying Game Art at university. I have worked on a bunch of student and personal projects in the past and have just graduated from university with a Master's degree in Game Art and am now looking for job opportunities in the games industry. I learned a lot of the basics of 3D art at university and developed them in my free time through tutorials and articles/breakdowns from other artists.
介绍
我的名字是Tommy Hallam，我是Escape Studios新毕业的3D环境艺术家。四年前，当我在大学开始学习游戏艺术时，我开始接触3D艺术。我过去曾参与过一堆学生和个人项目，刚刚从大学毕业，获得游戏艺术硕士学位，现在正在寻找游戏行业的工作机会。我在大学里学到了很多3D艺术的基础知识，并在空闲时间通过其他艺术家的教程和文章/细分来开发它们。
The Destroyed Street Project
I wanted to learn how to create destruction for games, this was the focus of the project, so I picked references that helped me break down and understand what I wanted to create as an end result. I love the “grungy”, dusty, destroyed look of the environments in games like “Tom Clancy's The Division'', which is a game that I used a lot for reference and wanted to somewhat imitate when creating this scene.
被摧毁的街道项目
我想学习如何为游戏创造破坏，这是这个项目的重点，所以我选择了一些参考资料，帮助我分解并理解我想创造什么作为最终结果。我喜欢《汤姆克兰西的全境封锁》等游戏中环境的“肮脏”、“尘土飞扬”、“破旧”的外观，这是一款我经常用作参考的游戏，在创建这个场景时，我想在某种程度上模仿它。
I gathered a lot of references from real life and from other artists and picked parts that I liked and wanted to bring into my own work. When working with references, I tend to stick to one main reference image that I want to create but use aspects from others that I like and want to include if they fit with the style and theme.
我从现实生活和其他艺术家那里收集了很多参考资料，并挑选了我喜欢并想带入自己作品的部分。在使用参考文献时，我倾向于坚持使用一个我想创建的主要参考图像，但使用我喜欢的其他方面，如果它们适合风格和主题，则希望包含这些方面。
Production
On the production side, when it comes to making the modular assets, planning them out is in my opinion the most important stage of the process. When working modularly, it is incredibly important to make sure that all the pieces you make snap together properly before you start working on any details for the individual pieces. The size of the modular pieces was also important when it came to meeting my desired texel density, due to this, I wanted to keep the majority of my modules at a multiple of 2 meters to make sure all of the tiling textures tile properly across each piece.
生产
在生产方面，当涉及到制作模块化资产时，在我看来，规划它们是该过程中最重要的阶段。在模块化工作时，在开始处理各个部分的任何细节之前，确保您制作的所有部件正确卡入一起非常重要。在满足我想要的纹理密度时，模块化部件的大小也很重要，因此，我希望将大多数模块保持在2米的倍数，以确保所有平铺纹理平铺在每个部分上正确。
Before starting on a modular kit, I always make a modular breakdown of the main reference image so that I know exactly what pieces I need to make, which I then block out with simple primitives inside a modeling software, in this case, Blender. Once I know the sizes of all the pieces work out, it's just a case of adding more detail and developing each piece into a final asset.
在开始使用模块化套件之前，我总是对主要参考图像进行模块化分解，以便我确切地知道我需要制作哪些部分，然后我用建模软件（在本例中为Blender）中的简单基元将其屏蔽。一旦我知道所有作品的大小，这只是添加更多细节并将每个作品开发成最终资产的情况。
I used Blender to do all of the non-sculpted modeling and took anything that needed a sculpt pass into ZBrush. When doing work in ZBrush, I always like to create a base mesh first in Blender so that I have something to sculpt from. I find it easier to get the base shape and scale down in Blender and then take that into ZBrush and start sculpting damage.
我使用Blender来做所有非雕刻建模，并将任何需要雕刻的东西都带入ZBrush。在ZBrush中工作时，我总是喜欢首先在Blender中创建一个基础网格，这样我就可以雕刻一些东西。我发现在Blender中获取基础形状和缩小比例，然后将其放入ZBrush并开始雕刻伤害更容易。
A challenging workflow that I learned for this project was rubble simulations and using them to create rubble pile materials and assets. This involved creating high polys in ZBrush, simulating in Blender to bake in Marmoset and do some clean-up of the texture maps in Substance 3D Painter, then using these materials in combination with already made concrete and brick assets to create the rubble piles.
This was by far the most challenging asset and complicated workflow I used in this project, but some amazing tutorials by Troy O'Shaughnessy and FastTrackTutorials really helped out and explained the workflow completely.
Simulating meshes for materials isn't something that I had really done before, so learning this was a top priority for me as it is really useful to simulate when making destruction assets rather than having to place all of the rubble meshes manually.
我在这个项目中学到的一个具有挑战性的工作流程是碎石模拟，并使用它们来创建瓦砾堆材料和资产。这涉及在ZBrush中创建高多边形，在Blender中模拟以在Marmoset中烘焙，并在Substance 3D Painter中对纹理贴图进行一些清理，然后将这些材料与已经制作的混凝土和砖块资源结合使用以创建瓦砾堆。
到目前为止，这是我在这个项目中使用的最具挑战性的资产和复杂的工作流程，但Troy O'Shaughnessy和FastTrackTutorials的一些惊人的教程确实帮助并完全解释了工作流程。
模拟材质网格并不是我以前真正做过的事情，所以学习这对我来说是重中之重，因为在制作破坏资源时进行模拟非常有用，而不必手动放置所有碎石网格。
As this is a game environment, it needs to run in real-time, so optimisation is important when thinking about how you approach certain assets. For assets like the banners and the signs, I used atlas textures so that I didn't have to have a different texture map for each variation. An atlas texture is when multiple different assets are textured on the same texture sheet. This means that I have only one texture set each for these assets and can simply swap to meshes with different UVs if I want to change to a different sign or banner variation.
由于这是一个游戏环境，它需要实时运行，因此在考虑如何处理某些资产时，优化非常重要。对于像横幅和标志这样的资源，我使用了地图集纹理，这样我就不必为每个变体使用不同的纹理贴图。图集纹理是指在同一纹理页面上对多个不同的资源进行纹理处理。这意味着我只有一个纹理集，每个纹理都为这些资源设置，如果我想更改为不同的标志或横幅变体，可以简单地切换到具有不同UV的网格。
My scene is very modular, so to help break up the repetitiveness, I created a master material with vertex painting and a lot of controls over each of the materials it had inside of it.
Vertex painting is a really useful tool when a lot of the environment is using the same or similar materials because it lets you easily add different variations and breakup to each modular piece. I then added more controls for each different vertex paintable material, such as lightness, roughness, desaturation, and more. Using the “MaterialAttributes” and “HeightLerp” nodes allowed me to blend multiple full materials together using vertex colour and a custom mask, this means that I can get good-looking vertex paints on my modular meshes even though they are low poly.
我的场景非常模块化，所以为了帮助打破重复性，我创建了一个带有顶点绘画的主材质，并对它里面的每种材质进行了很多控制。
当许多环境使用相同或类似的材料时，顶点绘画是一个非常有用的工具，因为它可以让您轻松地为每个模块化部分添加不同的变化和分解。然后，我为每个不同的顶点可涂漆材质添加了更多控件，例如亮度、粗糙度、去饱和度等。使用“MaterialAttributes”和“HeightLerp”节点，我可以使用顶点颜色和自定义遮罩将多个完整材质混合在一起，这意味着我可以在模块化网格上获得美观的顶点画，即使它们是低聚的。
Being able to make texture adjustments on the fly with these controls speeds up the process of working with these materials a lot as it means I don't have to go back into Substance 3D Designer or make a new material every time I want to slightly change, for example, the roughness on a specific modular piece or asset.
能够使用这些控件动态进行纹理调整大大加快了使用这些材质的过程，因为这意味着我不必每次都稍微更改时都返回Substance 3D Designer或制作新材质，例如，特定模块化部件或资产的粗糙度。
Decals were also something that I used extensively to get the scene to the quality bar that I wanted. Here are some of the decals that I made for this scene. These deferred decals do a really good job of adding more interest and breaking up the repetitive "gamey-ness" of the environment.
贴花也是我广泛使用的东西，以将场景带到我想要的质量酒吧。以下是我为这个场景制作的一些贴花。这些延迟贴花在增加更多兴趣和打破环境重复的“游戏性”方面做得很好。
Places like Textures.com and Megascans are really good if you need to find some quick decals for your projects. For creating these, I used Textures.com to find the base decals and then took it through a small Substance 3D Designer graph to generate some normals and a roughness map which I could use in Unreal Engine.
I also made a master material for my deferred decals so I had more control over how each decal looked. This allowed me to instance them and quickly make changes to individual decals with controls such as opacity, roughness, and a colour overlay.
像 Textures.com 和Megascans这样的地方真的很好，如果你需要为你的项目找到一些快速贴花。为了创建这些，我使用 Textures.com 来查找基本贴花，然后通过一个小的Substance 3D Designer图来生成一些法线和粗糙度贴图，我可以在虚幻引擎中使用。
我还为我的延期贴花制作了一个主材质，这样我就可以更好地控制每个贴花的外观。这使我能够对它们进行实例化，并使用不透明度、粗糙度和颜色叠加等控件快速更改各个贴花。
Texturing
For texturing, I used Substance 3D Painter and Designer alongside Blender and ZBrush for any materials created using geometry like the rubble.
I found that the key to a good urban, especially destroyed, look is the right level of grunge. I like to work on textures in sections, like focusing on the bricks and grout separately and then blending them together but adding a final few global dust or dirt passes to the texture at the end is really good for tying everything together and making it all look cohesive.
纹理
对于纹理，我将Substance 3D Painter和Designer与Blender和ZBrush一起使用，用于使用瓦砾等几何图形创建的任何材质。
我发现，一个好的城市，特别是被摧毁的，看起来的关键是正确的垃圾乐水平。我喜欢在各个部分处理纹理，比如分别关注砖块和水泥浆，然后将它们混合在一起，但是在最后的纹理上添加一些全局灰尘或污垢通道对于将所有内容连接在一起并使其看起来具有凝聚力真的很好。
When making a material in Substance 3D Designer, I always like to start at the large forms and gradually work to smaller and smaller details. On the bricks, for example, I started by making sure the actual bricks were the right size and shape and then went in and gave them some larger form edge damage, then a few passes on some more granular edge damage before blending them all together.
在 Substance 3D Designer 中制作材质时，我总是喜欢从大型表单开始，逐渐处理越来越小的细节。例如，在砖块上，我首先确保实际的砖块大小和形状正确，然后进入并给它们一些更大的形式边缘损伤，然后在将它们全部混合在一起之前，对一些更细粒度的边缘损伤进行几次传递。
I like working this way as it helps me stop making a material that is too visually noisy or does not have the noise focused in the right places. Approaching texturing in this way gets you some really detailed materials while still making sure they are readable from a distance.
Due to time constraints, I didn't want to have interiors to all of the intact rooms for the buildings. This meant that I needed to fake the windows and have them opaque. I did this using roughness and metallic maps to create a shiny reflective effect and blended that with a lot of grunge.
我喜欢这种工作方式，因为它可以帮助我停止制作视觉上太嘈杂的材料，或者没有将噪音集中在正确的位置。以这种方式进行纹理处理可以为您提供一些非常详细的材料，同时仍然确保它们可以从远处阅读。
由于时间限制，我不想让所有完整的建筑物房间都拥有内部空间。这意味着我需要伪造窗户并使其不透明。我使用粗糙度和金属贴图来创建闪亮的反光效果，并将其与许多垃圾混合在一起。
This works in the context of the destroyed street as the building is grungy, dirty, and damaged. This had to go through quite a few iterations before I got something that I was happy with as it is pretty easy to make the windows look really bad when faking them in this way by having the metallic and roughness values set incorrectly. Decals in the engine also helped a lot to vary the look of the windows and add some additional interest.
这在被摧毁的街道的背景下起作用，因为建筑物肮脏，肮脏且损坏。在我得到一些我满意的东西之前，这必须经过相当多的迭代，因为在以这种方式伪造它们时，很容易通过错误地设置金属和粗糙度值来使窗口看起来非常糟糕。引擎中的贴花也有助于改变窗户的外观，并增加一些额外的兴趣。
Scene Assembly & Composition
During projects, I always like to block out the scene in Unreal Engine as early as I can so I can iterate a lot on the composition, lighting, and set dressing. The more time I get to experiment with lighting and composition of the scene, the better it will look in the end, so an early blockout is crucial.
I wanted to showcase the destruction of the main buildings, so I needed to house them in an environment with a composition that pushes these destroyed elements, making sure I had laid out my focal points of detail where I wanted them, using the rule of thirds and leading lines to help guide the viewer's attention down the street and to the important areas of the scene.
场景组装和构图
在项目期间，我总是喜欢尽早在虚幻引擎中遮挡场景，这样我就可以在构图、光照和布景修整上进行大量迭代。我尝试场景的照明和构图的时间越多，它最终看起来就越好，因此早期遮挡至关重要。
我想展示主要建筑物的破坏，所以我需要将它们安置在一个具有推动这些被破坏元素的构图的环境中，确保我已经将细节的焦点布置在我想要的地方，使用三分法则和前导线来帮助引导观众的注意力沿着街道和场景的重要区域。
Creating a story for the environment also helps to give it some life and believability. For this scene, I wanted to convey that perhaps a bomb had gone off or landed near one of these buildings, and police barricades have been set up to stop citizens from getting near the danger zone. Little stories like this bring the scene up a little bit, from being just a simple street to a street that has a bit of interest and narrative behind it. Having a story can also help to inform how you should place assets around your scene so that it is told to the viewer through the environment.
为环境创造一个故事也有助于赋予它一些生命和可信度。对于这个场景，我想传达的是，也许炸弹已经爆炸或落在其中一座建筑物附近，并且已经设置了警察路障以阻止公民靠近危险区域。像这样的小故事把场景带了一点点，从一条简单的街道到一条背后有一点兴趣和叙事的街道。拥有故事还有助于告知您应该如何在场景周围放置资源，以便通过环境将其告知观众。
Lighting
For lighting, I went with one main directional light and sky light for the main light direction to mimic sunlight and ambient light. The sunlight is really important to the composition of the shot and I didn't want to have lots of different light sources alongside this.
I used a few point lights for ambient light in darker areas around the scene to light them up a little more as I didn't want to have any dark black areas, which would draw attention away from the intended composition.
Like I said above, lighting was a very iterative process which took a while to get it how I wanted and went through a lot of changes in light direction, colour and so on.
照明
对于照明，我选择了一个主要方向光和天光作为主要光方向，以模仿太阳光和环境光。阳光对镜头的构图非常重要，我不想同时有很多不同的光源。
我在场景周围较暗的区域使用了几点光源作为环境光，以使它们更加明亮，因为我不想有任何深黑色区域，这会将注意力从预期的构图上移开。
就像我上面说的，照明是一个非常迭代的过程，需要一段时间才能达到我想要的方式，并且在光的方向，颜色等方面经历了很多变化。
I did some colour grading and ambient occlusion changes through a post-process volume. This was mainly to add a vignette, increase the ambient occlusion intensity, reduce the colour temperature of the overall scene and add a bit of brightness and contrast to some specific areas, like shadows and mid-tones. Much like adding grunge at the end of the texturing process, I think doing a pass with the post-process volume helps to tie everything in the scene together and make it all look really cohesive.
I usually leave any post-process changes until close to the end of the project unless it is something major like exposure as I don't want to mess around with things like colour grading or vignetting while I am still getting things in the scene textured and adjusting the composition.
我通过后期处理体积进行了一些颜色分级和环境光遮蔽更改。这主要是为了添加晕影，增加环境光遮蔽强度，降低整体场景的色温，并为某些特定区域（如阴影和中色调）增加一些亮度和对比度。就像在纹理过程结束时添加垃圾乐一样，我认为对后期处理体积进行传递有助于将场景中的所有内容联系在一起，并使其看起来非常具有凝聚力。
我通常会将任何后期处理更改留到接近项目结束时，除非它是像曝光这样的重大内容，因为我不想在仍然在场景中获得纹理和调整构图时弄乱颜色分级或晕影之类的东西。
Conclusion
All in all, this project took about two weeks from start to finish, for which I was working pretty consistently on this project over that time. Using some Megascans for the street and keeping the scene relatively small helped a lot in letting me get the environment done in a reasonable timeframe, I didn't want this project to last too long as I was working on this over a couple of weeks' holiday from university, so when the holiday ended, university work would take over as my priority.
结论
总而言之，这个项目从开始到结束花了大约两周的时间，在那段时间里，我一直在这个项目上工作。在街道上使用一些Megascans并保持场景相对较小，这对我在合理的时间范围内完成环境有很大帮助，我不希望这个项目持续太长时间，因为我在大学假期的几周内就开始工作了，所以当假期结束时，大学工作将接管我的首要任务。
The main challenge I faced with this project was the rubble material and rubble pile assets, creating them and getting them to look high quality and reference-accurate. Learning a new workflow on a tight deadline is always tough, especially one where you have to jump between lots of different softwares. Focusing the project around these destruction assets really helped me in being able to focus on them and get them done to a good standard within the time I had.
我在这个项目中面临的主要挑战是碎石材料和碎石桩资源，创建它们并使它们看起来高质量和参考准确。在紧迫的期限内学习新的工作流程总是很困难的，尤其是在您必须在许多不同的软件之间跳转的工作流程。将项目重点放在这些破坏资产上确实帮助我能够专注于它们，并在我拥有的时间内将它们完成到一个很好的标准。
Some advice I can give to those new to 3D or starting new projects – I am by no means an expert by the way – which is something I have realized from being a student the last four years, is that overscoping in personal work is something that happens incredibly often. I think a key thing for beginners and artists starting out with new projects is to make sure that your project is focused. Keeping the scope small and focusing on developing a few key skills is really important to produce good quality work. I was guilty of this when I was starting out in 3D, you want to make this big awesome project, but so often the quality just won't be there and most of it will end up looking rushed and unfinished.
我可以给那些刚接触3D或开始新项目的人一些建议 - 顺便说一句，我绝不是专家 - 这是我在过去四年中作为学生时意识到的，个人工作中的过度扩张是经常发生的事情。我认为对于刚开始新项目的初学者和艺术家来说，一个关键的事情是确保你的项目是专注的。保持范围小并专注于发展一些关键技能对于产生高质量的工作非常重要。当我开始从事3D工作时，我对此感到内疚，你想制作这个很棒的大项目，但很多时候质量不会在那里，大部分最终看起来都很匆忙和未完成。
Making sure to stay small and ask yourself “what do I want to get out of this project, what skill do I want to learn, develop or showcase?” is something that I always try to do when starting new personal work. I live by this way of working as it ensures that I will have the time I need to push quality and not have to worry about rushing to get things done, and it gives me a clear goal with each project.
Thanks for giving this a read, and I hope you find some of it useful for your own projects. Have a great day!
确保保持小规模，问问自己“我想从这个项目中得到什么，我想学习，发展或展示什么技能？”这是我在开始新的个人工作时总是尝试做的事情。我以这种工作方式生活，因为它确保我有时间提高质量，而不必担心急于完成工作，并且每个项目都给了我一个明确的目标。
感谢您阅读本文，我希望您发现其中一些对您自己的项目有用。祝你有美好的一天！
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