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本帖最后由 对bu起 于 2022-8-18 10:59 编辑
Introduction
Hello! My name is Nina Popovych, I am 30 years old and I am from Kyiv, Ukraine. My first experience in the game industry was at the company Artificial Core, which was four years ago. I started my career as a Level Artist. I wanted to improve my skills and started learning material creation a year ago, I'm very passionate about it now. Nowadays, I'm working as a Level Artist in Room 8 Studio.
介绍
你好！我的名字是Nina Popovych，我今年30岁，来自乌克兰基辅。我在游戏行业的第一次经历是在四年前的人工核心公司。我的职业生涯始于水平艺术家。我想提高我的技能，一年前开始学习材料创作，我现在对它充满热情。如今，我在8号房间工作室担任关卡艺术家。
I have high skills in level art and design, I want to increase my experience, and materials often inspire me, so I started learning material creation.
To study materials, I chose courses from XYZ School with a very good mentor Anton Ageev. As I studied the course materials and did my homework, I realized that I really liked it. After graduating, I continued to make materials that I liked, for my portfolio and as a hobby because I’m interested in learning a new profession, and I love creating materials. Working in Substance 3D always allows me to take my mind off things and relax in some way because I really like it.
我在水平艺术和设计方面有很高的技能，我想增加我的经验，材料经常激励我，所以我开始学习材料创作。
为了学习材料，我选择了XYZ学校的课程，有一个非常好的导师Anton Ageev。当我学习课程材料并做作业时，我意识到我真的很喜欢它。畢業後，我繼續為我的作品集和愛好製作我喜歡的材料，因為我對學習新職業感興趣，我喜歡創作材料。在Substance 3D工作总是让我把注意力从事物上移开，并以某种方式放松，因为我真的很喜欢它。
Although I do not make materials for my full-time job, I really love the process of their creation. I even have a special library with saved materials that I like and want to make in the future. Also, if there are challenges (something like Nodevember), I try to participate in them. Often, I make materials only on topics of interest to me and try to practice in my spare time, at least a few hours at a time. Often, I don’t even notice how fast time passes when I’m passionate about making stuff.
In the image below, there are a few examples of my materials for Nodevember 2021.
虽然我不为我的全职工作制作材料，但我真的很喜欢他们的创作过程。我甚至有一个特殊的图书馆，里面有我喜欢并希望将来制作的保存材料。另外，如果有挑战（比如Nodevember），我会尝试参与其中。通常，我只制作我感兴趣的主题的材料，并尝试在业余时间练习，一次至少几个小时。通常，当我热衷于制作东西时，我甚至没有注意到时间过得有多快。
在下图中，有一些我为Nodevember 2021提供的材料示例。
Creating materials in Substance 3D Designer is my hobby at this stage of my career. I really like the fact that using Designer's nodes it is possible to create almost anything your heart desires.
In my opinion, the main advantage and convenience of Substance 3D Designer is that thanks to the procedural approach, the author can have global control over all of the components of the chart and quickly make changes (if you do not like something or if you want to change some point.) It is also great that once you create a fragment of the graph, you can use it in your other graphs, which greatly speeds up the work process. In addition to the convenience of the procedural approach, I think it is also possible to quickly make changes to any part of the chart so that you don't have to spend a lot of time on the correction of the finished texture because you can see all the changes in the 3D window immediately.
在Substance 3D Designer中创建材料是我职业生涯这个阶段的爱好。我真的很喜欢这样一个事实，即使用Designer的节点可以创建几乎任何你心中想要的东西。
在我看来，Substance 3D Designer的主要优点和便利性在于，由于程序方法，作者可以对图表的所有组件进行全局控制并快速进行更改（如果您不喜欢某些内容或想要更改某些点）。同样很棒的是，一旦你创建了图表的片段，你就可以在其他图表中使用它，这大大加快了工作流程。除了程序方法的便利性之外，我认为还可以快速更改图表的任何部分，这样您就不必花费大量时间在校正成品纹理上，因为您可以立即看到3D窗口中的所有更改。
As for what inspires me, it can be completely different things. Sometimes it happens that I play a game and see something beautiful there or I find a magnificently made material on another artist's page, it can happen at any moment. Also quite often a surface in real life is so impressive that you immediately want to repeat something similar in Substance 3D Designer.
There are many excellent artists whose work I follow on ArtStation and whose works inspire me, I also aspire to reach their level (like the incredible Pauline Boiteux, Elie Paquiet, and Ishan Verma). These are just a few people who are an example to me of what you need to do with materials.
至于是什么激励着我，那可能是完全不同的东西。有时，我玩游戏并在那里看到一些美丽的东西，或者我在另一个艺术家的页面上发现了一个宏伟的材料，它可能随时发生。此外，现实生活中的表面通常令人印象深刻，以至于您立即想要在Substance 3D Designer中重复类似的东西。
我在ArtStation上关注了许多优秀的艺术家的作品，他们的作品激励了我，我也渴望达到他们的水平（比如令人难以置信的Pauline Boiteux，Elie Paquiet和Ishan Verma）。这些只是少数几个人，他们是我需要用材料做什么的一个例子。
The Folk Ornament Mosaic Project
I had an idea to create a material with a folk ornament for a long time and sometimes saved all sorts of references. I had already tried to make embroidery material once and I really liked it, so now I decided to do something even more interesting and make embroidery in the form of a mosaic.
民间装饰马赛克项目
我有一个想法，用民间装饰品创建一种材料很长一段时间，有时保存各种参考资料。我曾经尝试过制作刺绣材料，我真的很喜欢它，所以现在我决定做一些更有趣的事情，以马赛克的形式制作刺绣。
I really wanted to create something that could somehow support the culture of my people and allow us to share our traditions and art with many people. I saved many references with images of various ornaments of Ukrainian national embroidery and for a long time, I wanted to make a mosaic material. So I decided that this was a wonderful opportunity to combine these two desires. That's how this idea was born.
When choosing a pattern, I looked through a lot of references, studied some information, and then settled on the option I implemented in the mosaic.
我真的很想创造一些东西，可以以某种方式支持我的人民的文化，并允许我们与许多人分享我们的传统和艺术。我保存了许多带有乌克兰民族刺绣的各种装饰品的图像的参考资料，并且在很长一段时间内，我想制作马赛克材料。所以我决定，这是一个结合这两种愿望的绝佳机会。这个想法就是这样诞生的。
在选择模式时，我查看了很多参考资料，研究了一些信息，然后确定了我在马赛克中实现的选项。
In the picture below, there are interesting examples of different variations of patterns.
在下图中，有不同模式变化的有趣例子。
It was difficult to choose the final version of the ornament as each part of the pattern and each color has its own meaning. These and similar ornaments were used for embroidery on rushnyks and shirts-embroideries. Rushnyks are objects of folk culture and Slavs' everyday life. They were very widely used in folk rites and traditions, in ancient times, it was customary to lay down a few rushnyks with various types of embroidery as a bride's dowry. All the embroidery was made by hand, and that is why rushnyks had such high value for people. The shape, color, and appearance of the ornaments differed depending on the territory in which the people who embroidered them lived.
In the image below, you can see examples of how such patterns could be implemented in products.
很难选择装饰品的最终版本，因为图案的每个部分和每种颜色都有自己的含义。这些和类似的装饰品用于在拉什尼克斯和衬衫刺绣上刺绣。拉什尼克斯是民俗文化和斯拉夫人日常生活的对象。它们在民间仪式和传统中被广泛使用，在古代，习惯上用各种类型的刺绣作为新娘的嫁妆。所有的刺绣都是手工制作的，这就是为什么拉什尼克斯对人们有如此高的价值。装饰品的形状，颜色和外观因刺绣它们的人们居住的地区而异。
在下图中，您可以看到如何在产品中实现此类模式的示例。
And now I’ll tell you a little bit about the meaning of colors and symbols of the ornament in embroidery.
现在我来告诉你们 一些关于刺绣中装饰品的颜色和符号的含义。
White was mainly used as a background for embroidery. Most of the embroidered shirts and rushnyks were white. This color means innocence, purity, spiritual and physical purity, life, and strength. If there was white embroidery on a white canvas, it symbolized the spiritual purity of the owner, the purity of thoughts and soul energy. White embroidery was regarded as a symbol of innocence and, according to beliefs, protected young girls from misfortune and the evil eye.
The black color was multi-valued. It could mean both joy and sadness. Slavic peoples perceive black as the color of sadness, separation, death, and otherworldly forces. Therefore, black embroidery was often present in funeral and commemorative items. And at the same time, in some territories, the black color in embroidery patterns was very common as in combination with other colors it could mean wealth and fuel for the future family (in some terrain embroidery with the black pattern was used in the decoration of newlyweds' clothes). The black color was often associated with the earth – it gave fruit at the same time and also left in the hearts sadness and sorrow for the loss of loved ones. Black also symbolized wisdom and the accumulation of knowledge because in many regions black embroidered shirts worn by people of old age.
The red color is the most popular color in Ukrainian embroidery. It was used most often. The main reason for this is its elegance, brightness, and expressiveness. The red color in the embroidery symbolized the element of fire as well as the masculine principle. It has sacred and protective functions and also symbolizes love for a man, life, the energy of the sun, and joy. Therefore the red color was often used in the embroidery of festive clothes, children’s and youth embroidery, wedding clothes, and rushnyks (as it symbolized love and blood kinship). Sometimes the red in the embroidery symbolized the blood shed by the brave warriors in battle.
The blue color symbolized the sky and water as well as the feminine side. Very often there were embroideries in two colors, red and blue, which symbolized the union of two opposites, two beginnings: male and female, fire and water. In addition to this, embroidered shirts and rushnyks with blue patterns were most often worn on lean days. And they even called them "lean" rushnyks.
Green was mainly used on women’s embroidered shirts. It was associated with youth, beauty, carelessness, and spring. Besides, it used to be believed that the green color in the embroidery could save from natural elements. The green color symbolizes calmness and endurance, it is the color of life, awakening, growth, and strength.
The yellow color in the embroidery means sunlight and wealth. In Ukrainian traditional embroidery it is not acceptable to create ornaments entirely of yellow or golden thread. It is most often used in combination with black, red, and green colors.
The violet (purple) color in the embroidery was considered the most gracious, the one that subtly related the male and female essence. From some sources, it is known that most often samples with embroidery of this color were worn by pregnant women and young children.
As for the embroidery symbols, I described some of them below and added a picture for a better visual representation. In fact, there are a lot of symbols, you can talk about them for an eternity, but I gave an example of those that occur most often.
白色主要用作刺绣的背景。大多数刺绣衬衫和刺绣衬衫都是白色的。这种颜色意味着纯真，纯洁，精神和身体的纯洁，生命和力量。如果白色画布上有白色的刺绣，它象征着主人的精神纯洁，思想和灵魂能量的纯洁。白色刺绣被认为是天真的象征，根据信仰，保护年轻女孩免受不幸和邪恶的眼睛。
黑色是多值的。它可能意味着喜悦和悲伤。斯拉夫民族认为黑色是悲伤，分离，死亡和超凡脱俗的力量的颜色。因此，黑色刺绣经常出现在葬礼和纪念物品中。同时，在一些地区，刺绣图案中的黑色非常普遍，因为与其他颜色结合使用可能意味着财富和未来家庭的燃料（在某些地形中，带有黑色图案的刺绣用于新婚夫妇衣服的装饰）。黑色往往与大地有关——它同时结出果实，也给心中留下了失去亲人的悲伤和悲伤。黑色也象征着智慧和知识的积累，因为在许多地区，老年人穿的黑色刺绣衬衫。
红色是乌克兰刺绣中最受欢迎的颜色。它最常被使用。其主要原因是它的优雅，明亮和表现力。刺绣中的红色象征着火的元素以及男性原则。它具有神圣和保护功能，也象征着对人的爱，生命，太阳的能量和喜悦。因此，红色经常用于节日服装，儿童和青少年刺绣，婚纱和拉什尼克斯的刺绣（因为它象征着爱情和血缘关系）。有时刺绣中的红色象征着勇敢的战士在战斗中流下的鲜血。
蓝色象征着天空和水以及女性的一面。经常有两种颜色的刺绣，红色和蓝色，象征着两个对立面的结合，两个开始：男性和女性，火和水。除此之外，刺绣衬衫和带有蓝色图案的冲饰衫最常在青黄不凉的日子里穿着。他们甚至称他们为“瘦”的拉什尼克斯。
绿色主要用于女性的刺绣衬衫。它与青春，美丽，粗心和春天有关。此外，人们曾经认为刺绣中的绿色可以节省自然元素。綠色象徵著平靜和忍耐，它是生命、覺醒、成長和力量的顏色。
刺绣中的黄色意味着阳光和财富。在乌克兰传统刺绣中，完全用黄色或金色的线制作装饰品是不可接受的。它最常与黑色，红色和绿色结合使用。
刺绣中的紫罗兰色（紫色）被认为是最优雅的，巧妙地将男性和女性的本质联系起来。从一些来源可以知道，大多数带有这种颜色刺绣的样品都是孕妇和幼儿穿的。
至于刺绣符号，我在下面描述了其中的一些，并添加了一张图片以获得更好的视觉表现。事实上，有很多符号，你可以永远谈论它们，但我举了一个最常出现的符号的例子。
Square – prosperity, peace, earthly field.
Rhombus – the union of the sun and the earth.
The rhombus and dot – the symbol of the seeded field.
The cross – a sign of harmony of the four elements, protection against evil spirits.
广场 —— 繁荣、和平、尘世的田野。
菱形 – 太阳和地球的结合。
菱形和圆点 - 种子田的象征。
十字架 – 四种元素和谐的标志，保护他们免受邪灵的侵害。
Guelder-rose – love, richness, beauty, motherhood. Guelder-rose bush is the mother, the berries on it are her children.
Stars – protection against evil and negativity, against disease and powerlessness.
Poppy plant – a defense against evil eyes.
Oak – embroidered on men’s shirts, signifies Perun.
Chevrons – a symbol of feminine and masculine natures, spirit, and matter.
古埃尔德玫瑰 - 爱，丰富，美丽，母性。Guelder-rose bush是母亲，上面的浆果是她的孩子。
星星 - 保护邪恶和消极，疾病和无能为力。
罂粟植物 – 抵御邪恶之眼的防御。
橡木 – 刺绣在男士衬衫上，象征着佩伦。
雪佛龙 - 女性和男性本性，精神和物质的象征。
Now, let’s talk about getting ready for work and getting some references together.
Before I start working on any of the materials, I always collect references. The main resources for that are Pinterest, ArtStation (similar works from other authors), Twitter, and less often – Google. Sometimes, I find an incredible material in real life, and it really inspires me, in this case, the main references are my own pictures from different angles.
现在，让我们谈谈为工作做准备并收集一些参考资料。
在我开始处理任何材料之前，我总是收集参考资料。这方面的主要资源是Pinterest，ArtStation（其他作者的类似作品），Twitter，以及较少见的谷歌。有时候，我在现实生活中发现了一种不可思议的材料，它真的激励着我，在这种情况下，主要的参考是我自己从不同角度拍摄的照片。
As a rule, I try to collect references of different kinds, from different angles, with different lighting, and it is desirable that some of them were highly detailed. This approach allows you to saturate the created material with the necessary level of detail and make it as realistic as possible.
In some cases, there is only one reference of the material. At the same time, I look for references of something like that, which will give a notion of how the particular moments in the material are arranged. For example, how dirt and dust accumulate in the joints on the tile, what the surface of the stones is, what scuff boards are on the parquet, and so on. It all depends on what kind of final result you want to get.
通常，我尝试从不同的角度，使用不同的光线收集不同类型的参考资料，并且希望其中一些参考资料非常详细。此方法允许您使用必要的细节级别使创建的材质饱和，并使其尽可能逼真。
在某些情况下，材料只有一个参考。同时，我寻找类似的东西的参考资料，这将给出一个概念，说明材料中的特定时刻是如何安排的。例如，污垢和灰尘如何积聚在瓷砖上的接缝中，石头的表面是什么，镶木地板上的划线板是什么，等等。这完全取决于你想得到什么样的最终结果。
I structure all the references I’ve found using PureRef. For me, it is one of the most convenient tools for assembling and structuring references. This program is also very easy to use.
In the image below, there is an example of my page with references for this project.
我使用PureRef构建了我找到的所有引用。对我来说，它是组装和构建参考文献的最方便的工具之一。该程序也非常易于使用。
在下图中，有一个我的页面示例，其中包含此项目的参考。
Substance 3D Designer
I always use a predefined and saved template to simplify and speed up my work. It contains pre-arranged outputs of texture material. After that, I continue my work on the basis of this template. Yes, at first glance it may seem that creating all the outputs is not such a long process, but I am so used to it and it's much more convenient for me because you don't have to do the same thing every time and you can just open an already prepared template and reuse it. When I created the Folk Ornament Mosaic project, I did the same. I opened my template and started working.
物质 3D 设计器
我总是使用预定义和保存的模板来简化和加快我的工作。它包含纹理材质的预先安排的输出。之后，我继续在这个模板的基础上工作。是的，乍一看，创建所有输出似乎不是一个漫长的过程，但我已经习惯了，这对我来说更方便，因为你不必每次都做同样的事情，你可以打开一个已经准备好的模板并重用它。当我创建民间装饰马赛克项目时，我也做了同样的事情。我打开模板并开始工作。
Creating a pattern that would replicate the embroidery and then could be used as masks to color the mosaic was my first step in creating this material.
I used the SVG node for the template and attached a pre-prepared cut part of the embroidery pattern. I wanted the pattern to be solid and tiled so that it could cover a large area of the walls, columns, floors, etc.
In order to understand exactly what part of the pattern of the ornament is to cut, I counted the number of colorful squares of the embroidery that will make the pattern tiled. After that, I made a node in Tile Generator, in which X and Y were the same number of squares (which in the future would be elements of the tiling). Then I put a pre-cut image with an embroidery element over the result obtained in the Tile Generator and blended them, which gave me a basic picture that helped me mark the SVG node correctly.
创建一个可以复制刺绣的图案，然后可以用作蒙版来着色马赛克是我创造这种材料的第一步。
我使用SVG节点作为模板，并附加了刺绣图案的预先准备的切割部分。我希望图案是实心的和瓷砖的，这样它就可以覆盖大面积的墙壁，柱子，地板等。
为了确切地了解装饰品的图案的哪一部分是要切割的，我计算了刺绣的彩色正方形的数量，这些正方形将使图案平铺。之后，我在瓷砖生成器中制作了一个节点，其中X和Y是相同数量的正方形（将来将成为瓷砖的元素）。然后，我在瓷砖生成器中获得的结果上放置了一个带有刺绣元素的预剪切图像并将它们混合在一起，这给了我一个基本的图片，帮助我正确标记SVG节点。
In the resulting image, I could clearly see the boundaries of each square, this made it convenient to further use the SVG node and allowed me to make the right black-and-white masks to use in the process of creating the Base Color.
After I connected the selected node to SVG, I started to create a drawing. For those who have not used it before, this node allows you to create almost any vector image. The main convenience of this node is that you can both create any image yourself, put some pictures, and repeat it. This is a very convenient feature as it allows you to create absolutely different patterns in Substance 3D Designer and really saves you time.
在生成的图像中，我可以清楚地看到每个正方形的边界，这使得进一步使用 SVG节点，并允许我制作正确的黑白蒙版，以便在创建基色的过程中使用。
将所选节点连接到 SVG 后，我开始创建图形。对于那些以前没有使用过它的人来说，这个节点允许您创建几乎任何矢量图像。这个节点的主要便利是，你既可以自己创建任何图像，放一些图片，然后重复。这是一个非常方便的功能，因为它允许您在Substance 3D Designer中创建完全不同的模式，并真正节省您的时间。
In the SVG node, you can use simple geometric shapes (square, circle, rectangle) or you can create any shape using the Bézier curves. You can also change the brightness of the sub-image and the color of the selection, as well as turn off the sub-image altogether if you no longer need it.
在 SVG节点，您可以使用简单的几何形状（正方形，圆形，矩形），也可以使用贝塞尔曲线创建任何形状。您还可以更改子图像的亮度和所选内容的颜色，以及如果不再需要子图像，则将其完全关闭。
After I put different colors in the SVG node, I started the next step. As for markup, it is the choice of every material artist, some prefer to create several separate SVG nodes and in each of them draw different colors, while others draw different colors in one node (this is convenient if the drawing is not very complex and there are no more than 3-5 colors). I made the whole pattern in one SVG node.
When the whole pattern was separated by colors, I started the next stage – making black-and-white masks.
The SVG node gives a color output, so it needs to be changed to a grayscale image (I did this with Grayscale Conversion – a node that converts color to black-and-white). When you get a basic image of the ornament with different shades of gray, you need to select each color of the pattern on a separate black-and-white mask (as we will then use these masks to create a Base Color). For this, I used the nodes Histogram Select and Histogram Scan.
在SVG节点中放置不同的颜色后，我开始了下一步。至于标记，这是每个材质艺术家的选择，有些人更喜欢创建几个单独的SVG节点，并在每个节点中绘制不同的颜色，而另一些人则在一个节点中绘制不同的颜色（如果绘图不是很复杂并且不超过3-5种颜色，这很方便）。我在一个SVG节点中制作了整个模式。
当整个图案被颜色分开时，我开始了下一个阶段 - 制作黑白面具。
SVG节点提供颜色输出，因此需要将其更改为灰度图像（我使用灰度转换 （一个将颜色转换为黑白的节点） 执行此操作）。当您获得具有不同灰色阴影的装饰品的基本图像时，您需要在单独的黑白蒙版上选择图案的每种颜色（因为我们将使用这些蒙版来创建基色）。为此，我使用了直方图选择和直方图扫描节点。
After that, I moved on to the next stage – the creation of the Height map. The first thing that came in handy when I created the Height map was the Tile Generator node, which I had previously used (with the right number of square tiles that would match the masks obtained from the SVG node).
In order to create a more realistic mosaic, I added some variability to the Tile Generator node. I added some randomness the size of the square tiles, moved some of them to Offset and Position Random (on the axes X and Y), and also added a minimum number of Rotation Random so that all the tiles did not stand perfectly even. This allowed me to get a black-and-white picture with seams and individual tiles of the future mosaic. I used it as a base to create a Height map.
之后，我进入了下一个阶段 - 创建高度地图。当我创建高度贴图时，第一件事就是我之前使用的“图块生成器”节点（具有与从 SVG 节点获得的蒙版相匹配的正确数量的方形图块）。
为了创建更逼真的马赛克，我向“切片生成器”节点添加了一些可变性。我在方形图块的大小上添加了一些随机性，将其中一些图块移动到“偏移”和“随机位置”（在轴X和Y上），还添加了最小数量的旋转随机数，以便所有图块都不能完全均匀。这使我能够获得一张黑白照片，其中包含未来马赛克的接缝和单个瓷砖。我用它作为基础来创建高度地图。
Then, I added a little variability to the tile shape with the Directional Warp node (after, through a node with the same settings and the same filter, I ran each of the masks obtained in the SVG node to make the colors lie down exactly along the required contours). As a filter in the Directional Warp node, I used Gaussian Noise (150) and made it more contrasting with the Histogram Scan node. In the resulting output, I blurred the Blur node a bit to create smoother bevels at the tiles.
然后，我使用“定向变形”节点向图块形状添加了一些可变性（通过具有相同设置和相同滤镜的节点，我运行了在SVG节点中获得的每个蒙版，以使颜色完全沿着所需的轮廓放置）。作为定向变形节点中的滤波器，我使用了高斯噪声 （150），并使其与直方图扫描节点形成对比。在生成的输出中，我稍微模糊了“模糊”节点，以便在拼贴处创建更平滑的斜角。
Then, I ran the resulting node in Directional Warp through Flood Fill (which had not previously worked with this node, you should remember that for the correct operation of this node it is very important to have a clear black-and-white picture with sharp edges). Using the Flood Fill node, I was able to add basic variation to the Height map of the mosaic. Flood Fill to Gradient (a node that uses the Flood Fill node to create a gradient on each of the squares. It can adjust the gradient rotation angle and its intensity and add randomness so that each square had a different gradient at different angles) and Flood Random Fill to Grayscale (this node paints all the squares in randomized gray colors, so you can make each tile have a slightly different height).
然后，我在“通过 Flood Fill”进行定向变形（以前未使用此节点时运行生成的节点，您应该记住，对于此节点的正确操作，具有清晰边缘的清晰黑白图片非常重要）。使用“洪水填充”节点，我能够将基本变化添加到镶嵌的高度贴图中。将“泛光填充”转换为渐变（使用“泛光填充”节点在每个正方形上创建渐变的节点。它可以调整渐变旋转角度及其强度，并添加随机性，以便每个方块在不同角度下具有不同的渐变）和将随机填充泛滥为灰度（此节点将所有正方形绘制为随机灰色，因此您可以使每个图块具有略微不同的高度）。
After adding basic variability in the height of the tiles and the angle of rotation, I decided to add a variety to the surface of the tiles themselves. Since any tile is not perfectly smooth but will always have some roughness, minimal bumps, or notches, I started working with these details.
In order to diversify the surface of the elements of the mosaic, I did several things.
在添加了瓷砖高度和旋转角度的基本可变性之后，我决定在瓷砖本身的表面添加一个品种。由于任何瓷砖都不是完全光滑的，但总是有一些粗糙度，最小的颠簸或凹口，所以我开始处理这些细节。
为了使马赛克元素的表面多样化，我做了几件事。
First, I added some minor surface roughness with the BNW Spots 2 node, which I made a little softer with Blur. Also, on any tile, there are small defects (features of the low tide or small dust particles falling on the tile before it is filled with glossy glaze) that look like small specks or round flat bulges. I added them with the Dirt 2 node adding a bit of randomness (Vector Warp) and partially reducing the number of dots (Histogram Scan).
首先，我用BNW Spots 2节点添加了一些轻微的表面粗糙度，我用Blur使它变得柔和一些。此外，在任何瓷砖上，都有小缺陷（退潮的特征或小灰尘颗粒在充满光泽釉料之前落在瓷砖上），看起来像小斑点或圆形扁平凸起。我用Dirt 2节点添加了它们，增加了一点随机性（矢量变形）并部分减少了点的数量（直方图扫描）。
After that, it’s time to add a variety to the Height map space between the tiles. Although in the mosaic the seams are usually thin and not particularly significant, to create more plausibility and realism, they also need to add some surface. I added it with the White Noise node, which I softened with Blur, and plugged it into the overall blend using the inverted seam mask that I had originally created.
之后，是时候向磁贴之间的高度地图空间添加各种内容了。虽然在马赛克中，接缝通常很薄，并不是特别重要，但为了创造更多的合理性和真实感，它们还需要添加一些表面。我用“白噪声”节点添加了它，并用Blur柔化了它，并使用我最初创建的倒接缝蒙版将其插入到整体混合中。
The work with the Height map is finished then, and you can start the next stage. As for the level of development of the Height map, in my opinion, each material artist determines the optimal level of detail for their work themselves. But based on my experience, I recommend paying attention to small and not always immediately noticeable details because they give a sense of plausibility and realism.
As a rule, I start working with Color and Roughness at the same time after I finish working with the Height map.
然后，高度地图的工作就完成了，您可以开始下一阶段。至于高度图的发展水平，在我看来，每个材料艺术家都决定了他们自己作品的最佳细节水平。但根据我的经验，我建议注意小细节，并不总是立即引人注目，因为它们给人一种合理性和真实感。
通常，在完成高度贴图后，我会同时开始使用“颜色”和“粗糙度”。
To get the black-and-white mask that I then used in blends to create color variability, I used the pattern created in Circular Splatter and Tile Generator. With the help of simple shapes, I created different ones and after that, I generated them in several combinations. As for this stage, it was possible to use some ready-made Grunge Map, but I wanted to do something interesting in order to get a more unique result.
为了获得黑白蒙版，然后在混合中使用以创建颜色可变性，我使用了在圆形飞溅和瓷砖生成器中创建的图案。在简单形状的帮助下，我创建了不同的形状，之后，我以几种组合生成了它们。至于这个阶段，可以使用一些现成的Grunge Map，但我想做一些有趣的事情，以获得更独特的结果。
I got the mask in the grayscale format thanks to the manipulation above. Then, I used this mask as a filter for the Blend node when mixing colors.
Often for a variety of colors, I use blends of several colors, which I combine on a finished mask. You can also put a black and white mask through the Gradient Map node and get even more color options, but I like to add colors with the Blend node. When you do not use natural materials, it allows you to get more control.
And so, when you add each new color, as you can see in this example, I added some additional variability to some of the individual tiles in the mosaic.
由于上面的操作，我得到了灰度格式的蒙版。然后，我在混合颜色时使用此蒙版作为“混合”节点的滤镜。
通常对于各种颜色，我使用几种颜色的混合，并将其组合在成品蒙版上。您还可以通过“渐变贴图”节点放置黑白蒙版，并获得更多颜色选项，但我喜欢使用“混合”节点添加颜色。当你不使用天然材料时，它可以让你获得更多的控制。
因此，当您添加每种新颜色时，正如您在此示例中看到的那样，我为马赛克中的一些单个拼贴添加了一些额外的可变性。
The resulting color outputs with the Blend node I passed through the HSL node slightly changed the values on the sliders so that the result was close to the original but different from it. When mixing into the main color of the resulting color variants I used masks that hide part of the tiles in a random order, mixed with masks that repeat a specific pattern. In order to get a mask that will hide randomly part of the tiles from the total number, I used several nodes Flood Fill to random grayscale, which I told you about earlier, which I translated into contrast colors using the node Histogram Scan, leaving only black and white on the mask. Then I mixed the resulting mask with the masks I had prepared earlier for each of the colors (black and white masks obtained after I repeated the pattern in the SVG node).
使用我通过 HSL 节点传递的 Blend 节点生成的颜色输出稍微更改了滑块上的值，以便结果接近原始结果但与原始结果不同。当混合到最终颜色变体的主色中时，我使用了以随机顺序隐藏部分瓷砖的蒙版，并与重复特定图案的蒙版混合在一起。为了获得一个可以从总数中随机隐藏部分图块的蒙版，我使用了几个节点 Flood Fill 到随机灰度，我之前告诉过你，我使用节点直方图扫描将其转换为对比色，蒙版上只留下黑白。然后，我将生成的蒙版与我之前为每种颜色准备的蒙版（在SVG节点中重复图案后获得的黑白蒙版）混合在一起。
After I finished working with color tiles and added varieties and a bit of randomness, I also needed to reflect on the map Base Color and other elements that were added to the Height map.
First, I added color for small bumps, through a mask obtained from the Dirt 2 node (which I had previously added to the Height map). After that, I added a lighter color to the edges of each tile. This is because the mosaic uses cut finished tiles, or specially made tiles of the same size, and the ceramic itself has its own color, and usually, this color is noticeable when viewed very close. So I added the Blurred seam tile mask to the Base color of the ceramic.
在我完成颜色图块的使用并添加了品种和一些随机性之后，我还需要在地图上反映添加到高度贴图中的基色和其他元素。
首先，我通过从Dirt 2节点（我之前已添加到高度贴图）获得的蒙版为小凸起添加了颜色。之后，我为每个磁贴的边缘添加了较浅的颜色。这是因为马赛克使用切割的成品瓷砖，或相同尺寸的特制瓷砖，并且陶瓷本身有自己的颜色，通常，这种颜色在非常接近时是显而易见的。所以我在陶瓷的基色中添加了模糊接缝瓷砖蒙版。
Now it’s time to paint the space between the tile seams. Since I added fine grit to the Height map with the Grunge Map, I decided to paint it to match the light grout that is usually used to grout the joints between the tiles.
In the final color work, I decided to add a little bit of dirt using the Dirt node. For those who are not familiar with the Dirt node, it allows you to quickly create a mud mask using Normal, Ambient Occlusion, and Curvature maps (which we get from the Normal node). The Dirt node makes it very easy and fast to control the amount of dirt and its intensity. Once everything is properly connected, you can configure the Dirt node and get the desired level of pollution and mask, which we will then use in the Base Color map and add to the Roughness map, regardless of whether what kind of Roughness map dirt is on any surface will always stand out. It will always be more matt and will create something like a small plaque.
现在是时候画瓷砖接缝之间的空间了。由于我使用Grunge地图为高度地图添加了细砂，因此我决定将其绘制为与通常用于灌浆瓷砖之间接缝的轻质水泥浆相匹配。
在最后的色彩工作中，我决定使用“污垢”节点添加一点污垢。对于那些不熟悉“污垢”节点的用户，它允许您使用“正常”、“环境光遮蔽”和“曲率”贴图（我们从“正常”节点获取）快速创建泥浆蒙版。“污垢”节点使控制污垢量及其强度变得非常容易和快速。一旦所有内容都正确连接，您就可以配置“污垢”节点并获得所需的污染和遮罩级别，然后我们将在基色贴图中使用并将其添加到粗糙度贴图中，无论任何表面上的粗糙度贴图污垢是否始终突出。它总是会更哑光，并会产生像小牌匾一样的东西。
After we have finished with the color, proceed to the map Roughness map. I usually do it in parallel with the color, but you can and separately, here again, each artist chooses a convenient method for themselves.
I used the inverted mask that I made for the color map as the basis and then with the Histogram Range node, I lowered the contrast to a level where the tiles of the mosaic would look plausible and also softened it a bit with a Blur. After that, I subtracted the seams from the received map as the seams are deeper and they must be matt, and added some individual tiles with more intense luster by adding the Clouds 2 node passed through the Vector Warp, which I had previously darkened with the Histogram Scan node. And at the end, I added a Dirt mask to the Roughness map to highlight the places where dirt could stay or accumulate.
完成颜色后，继续使用地图粗糙度地图。我通常与颜色并行进行，但是您可以单独进行，在这里，每个艺术家都为自己选择一种方便的方法。
我使用我为色彩映射表制作的倒置蒙版作为基础，然后使用直方图范围节点，我将对比度降低到马赛克的瓷砖看起来合理的水平，并且还通过模糊将其柔化了一点。之后，我从收到的地图中减去了接缝，因为接缝更深，它们必须是哑光的，并通过添加通过矢量变形的Clouds 2节点添加了一些具有更强烈光泽的单个图块，我之前使用直方图扫描节点将其变暗。最后，我在粗糙度地图上添加了一个污垢蒙版，以突出显示污垢可能停留或积聚的地方。
With this, the work with the maps of the material is finished, and after unloading, you can proceed to the rendering.
这样，材质贴图的工作就完成了，卸载后，您可以继续进行渲染。
Rendering
My favorite program for rendering, despite the fact that the 4th version was released long ago, still remains Marmoset Toolbag 3.
I prefer it because its interface is more familiar and convenient for me. But despite this, sometimes to get a juicier and more beautiful picture, I also render materials in Marmoset 4, but I upload already created in Marmoset Toolbag 3 maps with all the settings there, and in volume 4, I only correct some nuances of the settings.
渲染
我最喜欢的渲染程序，尽管第4个版本很久以前就发布了，但仍然仍然是Marmoset Toolbag 3。
我更喜欢它，因为它的界面对我来说更熟悉和方便。但尽管如此，有时为了获得更多汁，更美丽的图片，我也在Marmoset 4中渲染材质，但是我上传了已经在Marmoset Toolbag 3中创建的地图，其中包含所有设置，而在第4卷中，我只纠正了设置的一些细微差别。
For rendering, I use several variations of presentation material, it is a classic variant on the sphere, render on the plane, sometimes a render on the cylinder, and depending on the material, sometimes additional render options on the plane at different angles.
When saving maps with rendered materials, I stick to one simple rule: one render – one separately saved map with saved settings. That is, if I want to present my work with 5 renders, I will save 5 separate maps, each of which will be separately configured with a camera, light, and other image settings. I do this in order to quickly correct the desired render as well as for convenience.
对于渲染，我使用了几种表示材质的变体，它是球体上的经典变体，在平面上渲染，有时在圆柱体上进行渲染，并且根据材质的不同，有时在平面上以不同的角度提供额外的渲染选项。
使用渲染材质保存地图时，我坚持一个简单的规则：一个渲染 - 一个单独保存的地图，并保存设置。也就是说，如果我想用5个渲染来展示我的作品，我将保存5个单独的地图，每个地图都将单独配置相机，灯光和其他图像设置。我这样做是为了快速纠正所需的渲染以及方便。
In addition, for the standard presentation material on the sphere, I have one saved Base map, with camera settings, color, and sphere position, so that every material I have was equally presented on my Artstation page. Sometimes, depending on the material, I have to adjust the lighting on this map, but the background and size will always be the same, which brings me aesthetic pleasure and organizes the appearance of my works in the portfolio.
此外，对于球体上的标准演示材质，我有一个保存的底图，其中包含相机设置，颜色和球体位置，因此我拥有的每个材质都在我的Artstation页面上平等地呈现。有时，根据材质的不同，我必须调整这张地图上的灯光，但背景和大小总是一样的，这给我带来了审美的愉悦感，并组织了我的作品在作品集中的外观。
Starting setting the specific render in Marmoset, right after assigning the Texture maps to the shape, I choose the sky. A Sky map in Marmoset allows you to choose the basic initial lighting for the presentation of your material. And it is very convenient because depending on the type of material you can choose a different kind of Sky map that will help to present the render material in the most beneficial and natural way.
开始在Marmoset中设置特定的渲染，在将纹理贴图分配给形状之后，我立即选择天空。狨猴中的天空贴图允许您选择基本的初始照明来呈现材质。这非常方便，因为根据材质的类型，您可以选择不同类型的天空贴图，这将有助于以最有益和最自然的方式呈现渲染材质。
When I’m preparing a render on a sphere, as in this example and any other render, I try to use a limited number of light sources. The reason I’m doing this is that if you map out a lot of different light bulbs, you can get confused and then lose the effect of the plausibility and realism of working out the light and the shadows. And among other things, if you use a lot of light sources, usually more than half of them do not have a significant effect and result. So I tend to use two or four light sources on one map to render.
当我在球体上准备渲染时，如本例和任何其他渲染一样，我尝试使用有限数量的光源。我这样做的原因是，如果你绘制出许多不同的灯泡，你可能会感到困惑，然后失去计算光和阴影的合理性和真实感的效果。除此之外，如果您使用大量光源，通常其中一半以上不会产生显着的影响和结果。因此，我倾向于在一张地图上使用两个或四个光源进行渲染。
If you look at this example, you can see that I have only 2 light sources on the map, and also the Sky map acts as one of the sources.
In this example, I used two light bulbs. In the upper right corner, I added a light bulb that shines softly with warm yellowish light on the upper right hemisphere. And at the bottom left, to create a contrast and a more pleasing effect to the eye, I added a less intense light bulb with a cold bluish shade. This combination, in my opinion, creates a pleasant, comfortable, and familiar combination for the eye.
As for the rendering of the material on the plane, I also try to follow the rule I described above: minimum of redundant light sources and a combination of warm and cold shades.
如果你看这个例子，你可以看到我在地图上只有2个光源，天空地图也充当了光源之一。
在这个例子中，我使用了两个灯泡。在右上角，我添加了一个灯泡，该灯泡在右半球上柔和地闪耀着温暖的淡黄色光。在左下角，为了创造一种对比和更赏心悦目的效果，我添加了一个不太强烈的灯泡，带有冷蓝色的阴影。在我看来，这种组合为眼睛创造了一个愉快，舒适和熟悉的组合。
至于平面上材质的渲染，我也尽量遵循上面描述的规则：最少的冗余光源和冷暖色调的组合。
My main wish was to show on these renders what the pattern looks like when it is tiling and to convey its colors. As for the light sources, I used three light sources for this render, two of which were warm and one cold.
我的主要愿望是在这些渲染上展示图案在平铺时的样子，并传达它的颜色。至于光源，我为此渲染使用了三个光源，其中两个是暖光源，一个是冷光源。
When I finish setting angles and lighting for the render, I go to Render settings directly in Marmoset. I try not to get carried away by twisting different sliders, so I add some effects in turn and look at the result. If I like what I see, I’ll let it go. In the render settings for the render of this material, I increased the level of Brightness and strength of Ambient Occlusion, also included the GI checkmark, and of course, added a Watermark.
完成渲染的角度和光照设置后，我将直接转到 Marmoset 中的渲染设置。我尽量不被扭曲不同的滑块冲昏头脑，所以我依次添加一些效果并查看结果。如果我喜欢我所看到的，我会放手。在渲染此材质的渲染设置中，我提高了环境光遮蔽的亮度和强度级别，还包括GI复选标记，当然还添加了水印。
To get a more colorful and beautiful image, in addition to the render settings, I still slightly change the camera settings. Depending on the angle, I change the setting of Field of View, it affects the size of perception of the figure (sphere, cube, 3D model, object on which you present your material). The more you put the number in this setting, the further you move the object visually. This is especially true for 3D models because with Field of View customization you can visually create an effect that the object will appear huge or very small. Accordingly, the smaller the number, the less distortion of perspective on the sides of the camera. When you put a small number in this setting, it is convenient for a render of small details or an accent rendered on a particular part or item.
为了获得更丰富多彩和美丽的图像，除了渲染设置外，我仍然稍微更改了相机设置。根据角度，我更改了视野的设置，它会影响图形（球体，立方体，3D模型，您展示材料的物体）的感知大小。在此设置中放置的数字越多，在视觉上移动对象的距离就越远。对于3D模型尤其如此，因为通过“视野”自定义，您可以在视觉上创建对象看起来很大或非常小的效果。因此，数字越小，相机侧面的透视失真就越小。在此设置中放置一个小数字时，可以方便地呈现小细节或特定部件或项目上呈现的重音。
Also, in the camera settings, I slightly enlarge the Exposure (if I need to lighten the whole image a little) and gently lift the Contrast (to add richness to the colors).
Always slightly increase the level of Sharpen configuration to add more sharpness to the image.
此外，在相机设置中，我会稍微放大曝光（如果我需要稍微淡化整个图像）并轻轻提升对比度（以增加色彩的丰富性）。
始终略微增加锐化配置级别，以增加图像的清晰度。
Depending on the type of renderer and the desired effect, you can still play with camera focus. This setting will help to focus on a particular part, the rest add a little blur, and you can also add a little to the Bloom setting (it will give the feeling of a weak glow, which can also look interesting).
根据渲染器的类型和所需的效果，您仍然可以使用相机焦点进行播放。此设置将有助于专注于特定部分，其余部分添加一点模糊，您还可以为Bloom设置添加一点（它会给人一种微弱发光的感觉，这也可以看起来很有趣）。
Conclusion
As for me, Substance 3D Designer is a very versatile and interesting program, and it is probably impossible to study it completely. You are constantly learning something new, getting experience from other material artists, sometimes you look or apply their methods that can give unexpected and new results. For me, Substance 3D Designer is a constant search for solutions and a huge trove of possibilities.
结论
至于我，Substance 3D Designer是一个非常通用和有趣的程序，可能不可能完全研究它。你不断学习新的东西，从其他材料艺术家那里获得经验，有时你看看或应用他们的方法，可以产生意想不到的新结果。对我来说，Substance 3D Designer是一个不断寻找解决方案和巨大可能性宝库的过程。
I started learning Substance 3D Designer from lessons at XYZ School under the guidance of Anton Ageev. These lessons were very clear and interesting for me. The mentor told me all the important points that are worth studying and memorizing. I was also struck by the fact that there was a very interesting and accessible presentation of the material, which made me want to continue to study Substance 3D Designer myself.
在Anton Ageev的指导下，我开始从XYZ学校的课程中学习Substance 3D Designer。这些课程对我来说非常清晰和有趣。导师告诉我所有值得学习和记忆的重要点。令我印象深刻的是，材料有一个非常有趣且易于访问的演示，这使我想继续自己学习Substance 3D Designer。
In addition to paid lessons, there are also a lot of interesting videos on Youtube (stylized materials, other stylized materials), where you can also learn something new.
If you are still completely unfamiliar with Substance 3D Designer, I recommend you to start learning it with the basics, the most basic nodes (Basics video from Adobe Substance). It is important to understand the principle of their work because they are essentially the basis of the whole Designer. Approach the study step by step (Substance academy by Adobe Substance), and it is advisable immediately during the study to try to repeat in practice certain actions to understand what the result leads to.
除了付费课程外，Youtube上还有很多有趣的视频（风格化材料，其他风格化材料），您还可以在那里学习新的东西。
如果您仍然完全不熟悉Substance 3D Designer，我建议您开始学习基础知识，最基本的节点（Adobe Substance的Basics视频）。了解他们工作的原则很重要，因为他们本质上是整个设计师的基础。逐步进行研究（Adobe Substance的Substances學院），建議在研究期間立即嘗試在實踐中重複某些行動，以了解結果會導致什麼。
I also recommend choosing a simple material for the first practice and trying to repeat it. It will be very convenient to do this if you first find a video lesson (for example video tutorials by Nathan Mckenzie) and repeat it. First, you will do everything slowly, you will deal with the principles of work of different nodes and remember the names of the nodes that can perform the function you need, but with time and practice, this problem will go away. I made my first material in a few weeks, carefully choosing each value in each node. Now, if necessary, I can make certain materials in just a few hours. But I still have a lot to learn and try.
我还建议为第一次练习选择一个简单的材料，并尝试重复它。如果您首先找到一个视频课程（例如Nathan Mckenzie的视频教程）并重复它，那么这样做将非常方便。首先，你会慢慢地做所有事情，你会处理不同节点的工作原理，记住可以执行你需要的功能的节点的名称，但随着时间的推移和实践，这个问题会消失。我在几周内制作了我的第一个材料，仔细选择了每个节点中的每个值。现在，如果有必要，我可以在短短几个小时内制作某些材料。但我还有很多东西要学习和尝试。
If you have a goal to learn Substance 3D Designer, you need to be patient and go toward your dream, gradually and confidently, and you will definitely succeed.
如果你有一个学习Substance 3D Designer的目标，你需要耐心地朝着你的梦想前进，渐进而自信，你一定会成功的。
Finally, I’d like to thank a few people who have made it possible for me to connect with the gaming industry, who have helped me at different times, and who I care about. Victoria Zavhorodnia is a close friend of mine who pushed me to try my hand in the game industry and always gives good advice and feedback if I need it. I would also like to thank my husband Oleg and my father, who despite the fact that they do not understand the materials, can always voice their opinion. Also, I would like to thank XYZ School mentors Anton Ageev and Vasilina Sirotina, thanks to whom I was able to learn and love Substance 3D Designer.
I wish you all good luck, excellent materials from the Designer, and a peaceful sky!
最后，我要感谢一些使我能够与游戏行业建立联系的人，他们在不同时期帮助过我，我关心他们。Victoria Zavhorodnia是我的一个好朋友，她推动我在游戏行业尝试一下，如果我需要，她总是会给出很好的建议和反馈。我还要感谢我的丈夫Oleg和我父亲，尽管他们不理解这些材料，但他们总是可以表达自己的观点。另外，我要感谢XYZ学校的导师Anton Ageev和Vasilina Sirotina，感谢他们，我能够学习并热爱Substance 3D Designer。
祝大家好运，设计师的优质材料，和平的天空！
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