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本帖最后由 对bu起 于 2022-8-18 10:25 编辑
Introduction
Hello! I’m Kieran Riley, a 3D Artist focusing on Props and Materials. When I was first thinking about University, I was initially going to study Game Art but changed my mind last minute and ended up studying Fine Art at Northumbria University, Newcastle upon Tyne, specialising in Photography. I guess I’ve come full circle now, but the knowledge of lighting, colour, and composition I gained from studying Fine Art has been invaluable.
介绍
你好！我是Kieran Riley，一位专注于道具和材料的3D艺术家。当我第一次考虑大学时，我最初打算学习游戏艺术，但最后一刻改变了主意，最终在泰恩河畔纽卡斯尔的诺森比亚大学学习美术，专攻摄影。我想我现在已经走了整整一圈，但是我从学习美术中获得的照明，色彩和构图知识是无价的。
I learned to be a 3D Artist independently, starting about 4 years ago. I gained most of my knowledge from online courses and tutorials. I had moved to Australia with some friends for a couple of years, and picked this up as a hobby in my spare time; I lived in a hostel for a while before we found an apartment, so this definitely kept me occupied and distracted from the other 11 people I shared a room with!
大约4年前，我开始独立地成为一名3D艺术家。我的大部分知识都是从在线课程和教程中获得的。我和一些朋友一起搬到澳大利亚几年了，并在业余时间把它当作一种爱好。在我们找到公寓之前，我在一个旅馆住了一段时间，所以这绝对让我被占用，分散了我和我共用一个房间的其他11个人的注意力！
I started up as a freelancer at the beginning of this year and have worked on some previs environment art for an unannounced project for a small indie studio in California. It’s still in its early days, so there’s not much I can say, sorry! In May, I started my first studio position at Free Radical Design working on the newest installment of TimeSplitters. I’m having a lot of fun on the project and have learned a great deal already. There's a wildly talented bunch of people working there, and it’s great to be amongst such accomplished devs, I feel very lucky to have such a well-known IP to work on as my first full-time gig!
我在今年年初开始担任自由职业者，并为加利福尼亚州一家小型独立工作室的一个未宣布的项目从事一些预览环境艺术。它仍然处于早期阶段，所以我能说的不多，对不起！五月份，我在Free Radical Design开始了我的第一个工作室职位，从事最新一期的TimeSplitters。我在这个项目上玩得很开心，并且已经学到了很多东西。有一群非常有才华的人在那里工作，很高兴能成为如此有成就的开发人员，我感到非常幸运，有这样一个知名的IP作为我的第一个全职工作！
The Crystal Project
Honestly, there wasn’t any planning behind this piece, I got home from work one evening, just sat at my computer, and decided on a short little exercise I could complete in an evening! I wanted to work on my sculpting, lighting, and presentation skills, so a crystal seemed like a good choice – something that shines and catches the light.
水晶计划
老实说，这件作品背后没有任何计划，一天晚上我下班回家，只是坐在电脑前，决定做一个简短的小练习，我可以在一个晚上完成！我想提高我的雕刻，照明和演示技巧，所以水晶似乎是一个不错的选择 - 一种闪耀和捕捉光线的东西。
Modeling
The crystal was sculpted from a Sphere in ZBrush. I used the Snake Hook brush to stretch it out to the proportions I wanted and then ZRemeshed it to get back an even distribution of polys. I sculpted the base shape of the Crystal using the TrimSmoothBorder brush. It’s absolutely fantastic for carving out planes – very good for defining the shapes of rocks and other things! I used the Orb Extreme Polish brush by Michael Vicente to smooth out some of the edges so that the whole thing wasn’t sharp, giving more form variation.
建 模
水晶是从ZBrush中的球体雕刻而成的。我用Snake Hook刷子把它拉伸到我想要的比例，然后ZRemeshed它得到均匀分布的多边形。我使用TrimSmoothBorder刷子雕刻了水晶的基本形状。对于雕刻飞机来说，这绝对是太棒了 - 非常适合定义岩石和其他东西的形状！我使用Michael Vicente的Orb Extreme Polish画笔来平滑一些边缘，使整个东西不清晰，从而产生更多的形式变化。
For the detail, I started off by using the stock ZBrush Noise brushes set to a low intensity to cover the whole model with noise detail. I then switched to using some rock brushes by Dannie Carlone. Again, I set them to quite a low intensity and dragged out some cliff-like detail in certain spots of the crystal. At this point, the crystal looked too noisy, so I stripped back the surface detail with the TrimSmoothBorder brush. I’ve found that lightly tapping on sections of your model will only erase a portion of the detail, giving the surface a good coverage of detail without being too overwhelming. I then used some of my own custom crack and speck brushes set to low-mid intensity to give some imperfections to the crystal.
对于细节，我首先使用设置为低强度的库存ZBrush噪声画笔，以用噪声细节覆盖整个模型。然后，我改用丹尼·卡隆（Dannie Carlone）的一些岩石画笔。同样，我将它们设置为相当低的强度，并在晶体的某些位置拖出一些悬崖状的细节。此时，晶体看起来太嘈杂了，所以我用TrimSmoothBorder刷剥离了表面细节。我发现，轻轻敲击模型的各个部分只会擦除部分细节，从而为表面提供良好的细节覆盖，而不会让人感到过于压倒性。然后，我使用一些我自己定制的裂缝和斑点刷，设置为中低强度，以使晶体具有一些缺陷。
At this point, the sculpt was finished, so it was time to grab the final models. The sculpt was at over 1.2 Million tris, so I decimated it down to a less dense mesh at around 100k tris so that Marmoset wouldn’t have to work so hard with it. I then used ZRemesher to grab my low poly at about 1.7k tris.
此时，雕刻已经完成，所以是时候抓住最终的模型了。这个雕塑的分辨率超过120万三倍，所以我把它缩小到一个密度较低的网格，大约100k三重奏，这样Marmoset就不必那么努力地使用它了。然后，我使用ZRemesher以大约1.7k tris的速度抓住我的低多边形。
I then took my low poly into Blender, where I did a quick tidy-up of the retopology, then essentially just created a UV seam straight down the middle so I would have two pretty much even UV islands. I then took the high and low poly models into Marmoset Toolbag 4 for baking.
然后，我将我的低聚体带入Blender，在那里我对重拓扑进行了快速整理，然后基本上只是在中间直接创建了一个UV接缝，这样我就会有两个几乎均匀的UV岛。然后，我将高聚和低多边形模型放入狨猴工具袋4中进行烘焙。
Texturing
The roughness was done quite haphazardly, to be honest, I started with total black, maximum shine. I then just layered some grunge brushes for the greyer patches and then used a Splattered Spot brush for the white values. I then did the same in reverse: black spots and some darker grunge patches. My strokes were very broad, with no real pattern to them, I just wanted good coverage and variation of roughness.
纹理
粗糙度是相当随意完成的，说实话，我从全黑开始，最大光泽。然后，我只是为灰色的斑块分层一些垃圾刷，然后使用飞溅的斑点刷子来表示白色值。然后我做了同样的事情：黑点和一些较暗的垃圾补丁。我的笔触非常广泛，没有真正的图案，我只是想要良好的覆盖面和粗糙度的变化。
Colour was the fun part! I started with a base blue, then added a gradient layer set to Overlay to get a nice fade on it. I then added a custom painter-like tileable I made in Substance 3D Designer, which is essentially various brush alphas splattered, with a slope blur to help blend them. I set this to Overlay and another seed of this to Divide to introduce patches of dark and light to break up the monotone colour.
颜色是有趣的部分！我从蓝色基础开始，然后添加了一个设置为Overlay的渐变图层，以获得漂亮的淡入淡出。然后，我添加了一个我在Substance 3D Designer中制作的自定义画家般的可平铺，它本质上是各种喷溅的画笔alpha，带有斜坡模糊以帮助混合它们。我将其设置为“叠加”，并将其另一个种子设置为“分割”，以引入深色和浅色块以分解单调颜色。
After this, I brought curvature generators into play to create the edge highlights, set to Screen being driven by a bright aqua-blue colour. There were two curvature layers, one slightly blurred and the next much sharper to give more range and depth to the highlights. Finally, I added a paint layer of some dark patches, using a Spot brush combined with a Blur Slope filter.
在此之后，我使用曲率发生器来创建边缘高光，设置为“屏幕”，由明亮的水蓝色驱动。有两个曲率层，一个稍微模糊，下一个更清晰，以便为高光提供更多的范围和深度。最后，我添加了一些深色斑块的油漆层，使用点画笔和模糊坡度滤镜。
I also added in a quick pass on a Metallic layer, using a Spot splatter brush/Slope Blur combo again just to add in another variation of light and texture. Obviously, crystals in real life do not usually contain metal, but in this case, I felt it just added a bit more artistic flair.
我还在金属图层上添加了快速通道，再次使用斑点飞溅画笔/坡度模糊组合，只是为了添加光线和纹理的另一种变化。显然，现实生活中的晶体通常不含金属，但在这种情况下，我觉得它只是增加了一点艺术天赋。
The Transmissive Effect
The transmissive is controlled via an Opacity mask created in Substance 3D Painter. This feature isn’t enabled by default, you must go to the Shader Settings and change your shader from ‘pbr-metal-rough’ to ‘pbr-metal-rough-with-alpha-blending’.
透射效应
透射通过 Substance 3D Painter 中创建的不透明度蒙版进行控制。默认情况下不启用此功能，您必须转到着色器设置并将着色器从“pbr-metal-rough”更改为“pbr-metal-rough-with-alpha-blending”。
This process was a lot of trial and error. I used a soft grunge brush to manually paint the mask and essentially went back and forth between Substance 3D Painter and Marmoset slightly adjusting the mask until I was happy with the result. The key was to keep it nice and contrasted to ensure that there were sections of the crystal that would not allow any light at all, with some sections that really let it shine through. You can’t have too much of a good thing though, so I left in some grey values to add a middle ground where the light was dulled. I found it important to apply white areas to the main edges of the shape, in particular, to help them accentuate the forms.
这个过程是大量的试验和错误。我使用柔软的垃圾刷手动绘制蒙版，基本上在Substance 3D Painter和Marmoset之间来回切换，稍微调整蒙版，直到我对结果感到满意。关键是要保持它的美观和对比，以确保晶体的某些部分根本不允许任何光线，有些部分确实让它发光。不过，你不能有太多的好东西，所以我留下了一些灰色值，以添加一个中间地带，使光线变暗。我发现将白色区域应用于形状的主要边缘非常重要，特别是为了帮助它们突出形状。
In Marmoset Toolbag, I loaded all the maps as usual and loaded my Opacity Map into the ‘Mask Map’ section of the Transmission/Refraction texture tab. I then played around with the Density, Scatter, and Anisotropy settings until I was happy with the effect. It was important to find the right level to set my mask to. Setting it at 0 allowed way too much light to pass through the model, overwhelmingly so, whereas setting it to 100 blocked out too much light, I settled at 0.644 to get a good balance.
在Marmoset Toolbag中，我像往常一样加载了所有贴图，并将我的不透明度贴图加载到“透射/折射纹理”选项卡的“遮罩贴图”部分。然后，我尝试了密度，散射和各向异性设置，直到我对效果感到满意。重要的是要找到合适的级别来设置我的面具。将其设置为0允许太多的光线通过模型，压倒性地如此，而将其设置为100则阻挡了太多的光线，我稳定在0.644以获得良好的平衡。
Rendering
The first thing I did when loading into Marmoset Toolbag was to enable Ray Tracing for the rendering, it allows for superior refraction and transmissive results.
渲染
当我加载到Marmoset Toolbag中时，我做的第一件事就是为渲染启用光线追踪，它允许出色的折射和透射结果。
The lighting process started off with an HDRI map with a cool temperature set to the brightness turned up to 3.5 to get a good start filling the scene. I mostly used rectangular spot lights to light the scene making sure to have light catching on the main planes of the crystal, with a key light in front of the crystal to the right and two fill lights to the left and behind slightly. I also had two omni lights in the scene, one slightly above the crystal to catch the upward-facing planes and one placed directly behind the crystal to shine some extra light through it. I then finally added a bloom post-processing effect to finish up.
照明过程从HDRI贴图开始，将冷却温度设置为亮度高达3.5，以获得填充场景的良好开端。我主要使用矩形聚光灯来照亮场景，确保在晶体的主平面上有光线捕捉，在晶体前面的右前方有一个主光，在左边和后面稍微有两个补光灯。我在场景中还有两个全向光源，一个略高于晶体以捕捉朝上的平面，另一个放置在晶体的正后方，以通过它发出一些额外的光线。然后，我终于添加了一个绽放后处理效果来完成。
Conclusion
So that’s that, thank you so much for taking the interest in this piece, I’ve been blown away with the reception it’s gotten! I hope this information helps other artists in some way!
结论
就是这样，非常感谢你对这件作品的兴趣，我被它得到的接待所震撼了！我希望这些信息能以某种方式帮助其他艺术家！
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膜拜大佬。。。。。。。。。。。。。。
