Introduction
Hello, I'm Saerom Yoon, an Environmental Artist from Korea. I majored in Visual Design at university. I learned various topics at school but I was always interested in the environment, technology, and procedural arts. In the meantime, I found out that there is a field called game art and after graduation, I studied and became a game developer.

Making the stage of the game doesn't attract as much attention as the character in the spotlight, but I think the background work of creating a world and making it my own way is also very special.

Coincidentally and fortunately, I am honored to have the opportunity to share my know-how at 80 Level. I hope I can help you a little bit.
介绍
你好，我是来自韩国的环境艺术家Saerom Yoon。我在大学主修视觉设计。我在学校学习了各种主题，但我一直对环境，技术和程序艺术感兴趣。与此同时，我发现有一个领域叫做游戏艺术，毕业后，我学习并成为一名游戏开发人员。

制作游戏舞台并不像聚光灯下的角色那样吸引那么多的注意力，但我认为创造世界并使其成为我自己的方式的背景工作也非常特别。

巧合的是，幸运的是，我很荣幸有机会在80 Level分享我的专业知识。我希望我能帮你一点忙。



The Middle Temple Lane Project
I usually like to see various sceneries through Google. I found the Middle Temple Lane in England, which I wanted to make at least once, and I decided to make it.
中寺巷项目
我通常喜欢通过谷歌看到各种风景。我找到了英格兰的中殿巷，我想至少做一次，我决定做一次。

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However, as I completed the first work, I wanted to try various things, so I decided to mix multiple concepts and make one scene. So, I found several pictures that started with that composition and constructed the entire building's shape. I decided to refer to the overall atmosphere of the concept art by Vilius Petrauskas:
然而，当我完成第一部作品时，我想尝试各种东西，所以我决定混合多个概念并制作一个场景。所以，我找到了几张从构图开始的图片，并构建了整个建筑的形状。我决定参考Vilius Petrauskas的概念艺术的整体氛围：

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The goal was to complete the scene in one cut, so I could save the lump of the building rather than the details, and I made module parts thinking about versatility. These parts are not exactly the same as the actual building but they give off a sense of similarity when viewed at a certain distance.
目标是在一次剪切中完成场景，这样我就可以节省建筑物的块而不是细节，并且我制作了考虑多功能性的模块部件。这些部分与实际建筑物并不完全相同，但是当在一定距离观看时，它们会散发出一种相似感。

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I set the general atmosphere, but I thought it would feel empty even if I filled the density, so I decided to add one more concept with storytelling. I thought that if I put a cultivated landscape garden that contrasts with the rough mountain ridge of the first image, I could not get tired of the opposite image and it would stimulate my imagination, so I worked on it.

When there is such blockage, it is often solved by configuring storytelling. It is important to see and enjoy various references regardless of genre.
我设定了一般的氛围，但我认为即使我填充了密度也会感到空虚，所以我决定在讲故事时再添加一个概念。我想，如果我放一个栽培的景观花园，与第一幅图像的崎岖山脊形成鲜明对比，我就不会厌倦相反的图像，它会激发我的想象力，所以我努力了。

当存在这种阻塞时，通常通过配置讲故事来解决。无论流派如何，查看和享受各种参考资料都很重要。

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I found a concept based on the UBC Rose Garden by chance. Based on that center, I found a variety of similar references and added my own imagination to organize the layout and work based on that reference.
我偶然发现了一个基于UBC玫瑰园的概念。基于该中心，我找到了各种类似的参考资料，并添加了自己的想象力，以根据该参考资料组织布局和工作。

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Referencing the concept, make a basic guide mesh with a box and assemble the parts used in the central building to make the overall side of the building. This is where the competence of the creator is most evident. It's best to learn how to assemble and which parts to use over and over again.

Overall, I worked with the feeling of looking up from the bottom, but in a certain section, I worked from the top to the bottom. The reason why I did this is that even if it's the same space, it's more visually interesting to look at it from various angles.
参考概念，用盒子做一个基本的引导网格，并组装中央建筑中使用的零件，使建筑物的整体一面。这是创作者的能力最明显的地方。最好学习如何组装以及一遍又一遍地使用哪些零件。

总的来说，我的工作感觉就像从底部向上看，但在某个部分，我从上到下工作。我这样做的原因是，即使它是同一个空间，从各个角度看它在视觉上也更有趣。

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Vegetation & Composition
The following is an individual classification of the composition layer into which the vegetation will be placed.
植被与组成
以下是将植被放入的组成层的单独分类。

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There was a small garden in the building itself, which became a reference, and I collected references to grow and organize it to fit my scene. If only the main image is composed roughly, the rest can be configured by changing the main image, so it is important to hold the main image well.

In my case, since the main building is neat, I think people will visit it often, and I found a reference – the main garden that requires a lot of people's help. References to the images and my inspiration were UBC Rose Garden, the garden from the movie Edward Scissorhands, and Hitman: Sapienza – the Weeding The Garden assessment.
建筑物本身有一个小花园，它成为参考，我收集参考资料来种植和组织它以适应我的场景。如果只是粗略地组成了主图像，则可以通过更改主图像来配置其余部分，因此保持良好的主图像非常重要。

就我而言，由于主楼整洁，我认为人们会经常参观它，我找到了一个参考 - 需要很多人帮助的主花园。参考这些图像和我的灵感是UBC玫瑰园，电影爱德华剪刀手的花园，以及杀手：Sapienza - 除草花园评估。

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It is good that there are many images that I referred to but I removed unnecessary images and left only the main ones because otherwise, I could lose direction. This way, they produced what vegetables were needed for the composition.
我提到的许多图像是件好事，但我删除了不必要的图像，只留下了主要的图像，因为否则，我可能会失去方向。通过这种方式，他们生产了组成所需的蔬菜。

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Green: Organized vegetation for landscaping

Blue: Natural rough wood that will clean up the edges

Red: Special trees with a unique shape

Because the building is already shaped and not complicated in terms of composition, I cared about some of the props and assets arrangements around the line that looked simple. The vegetation, the largest part, is dense from the outside, the height decreases as you go inside, and the depth of the entire composition is simplified.
绿色：用于美化景观的有组织的植被

蓝色：天然粗糙的木材，可以清理边缘

红色：形状独特的特殊树木

因为建筑已经成型了，在构图上并不复杂，所以我很在意一些看起来很简单的道具和资产布置。植被是最大的部分，从外面很密集，高度随着你进去而降低，整个构图的深度被简化。

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The landscaping trees are made with the help of Mot Studio's SpeedTree – Boxwood Modeling.
景观树木是在Mot Studio的SpeedTree - Boxwood Modeling的帮助下制作的。

The following is the method of making landscaping shrubs and topiaries. They tried to modify it the same way they made the landscaping wood, but when they did that, the leaves would stick together only at the end. I was looking for a relatively even mesh function on the whole side, and I found out on YouTube that there was a corresponding function in 3d Max, so I tried it. The shrubs were made relatively easily because of their square shape, and they were modularized so that they could be modified and used at any time.
以下是制作园林绿化灌木和地形的方法。他们试图以与制作园林绿化木材相同的方式对其进行修改，但是当他们这样做时，叶子只会在最后粘在一起。我正在寻找整个侧面相对均匀的网格功能，我在YouTube上发现3d Max中有一个相应的功能，所以我尝试了一下。由于其方形形状，灌木的制作相对容易，并且它们是模块化的，因此可以随时修改和使用。

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I prepared a model and a leaf mesh that will be roughly made into a topiary. The more detailed the silhouette of the skeleton model is in the trapezoidal shape, the better the shape. Rather than the details, I focused on the topiary silhouette. The shape is large, so if the leaves are lumped together, they divide the bones and work.
我准备了一个模型和一个叶子网格，它们将大致制成一个拓扑。骨架模型的轮廓在梯形形状中越详细，形状就越好。而不是细节，我专注于拓扑轮廓。形状很大，所以如果叶子被拼凑在一起，它们会分裂骨头并工作。

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Quixel's trees were used for tall trees around the building. It is free for all Unreal Engine users, so you should try it. All the leaves and small plants in my environment were mainly processed/used in Quixel. If you want to be a professional biologist or if you don't want to learn how to make your own vegetation, we recommend using Megascans' resources to save time and focus on other tasks.
Quixel的树木用于建筑物周围的高大树木。它对所有虚幻引擎用户都是免费的，所以你应该试试。我环境中的所有叶子和小植物主要在Quixel中加工/使用。如果你想成为一名专业的生物学家，或者你不想学习如何制作自己的植被，我们建议使用Megascans的资源来节省时间并专注于其他任务。

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Substance 3D
During this work, I thought about introducing various work methods. There are three main programs that I used: Megascans, Substance 3D Designer, and Substance 3D Painter. I used the Smart Material generator tool to quickly achieve the desired texture. I always start with a basic color and then add a layer on top of it. The intention was to refer to the appropriate atmosphere rather than to see the work very closely, so I did not refer to the small details and proceeded quickly.
物质 3D
在这项工作中，我想过引入各种工作方法。我使用了三个主要程序：Megascans，Substance 3D Designer和Substance 3D Painter。我使用智能材质生成器工具快速获得所需的纹理。我总是从基本颜色开始，然后在其上添加一层。目的是提到适当的气氛，而不是非常仔细地看待工作，所以我没有提到小细节，而是迅速进行。

In the process, I saw a lot of references, I put them in the engine, and if they didn't match the image I pictured, I immediately found a different source and applied it to the engine.
在这个过程中，我看到了很多参考文献，我把它们放在引擎中，如果它们与我拍摄的图像不匹配，我立即找到一个不同的来源并将其应用于引擎。

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The rock workflow used in the engine:
引擎中使用的摇滚工作流程：
https://youtu.be/IR_MSpVS6Zg

Substance 3D Designer was used to create the foundation of the floor. Through this, I was able to quickly determine the shape of the image, but I realized that it was slightly different from the image I was thinking about, so I did some extra work in Substance 3D Painter.

If there's something that's a little disappointing in what came up on the internet, it's also a good idea to modify it and make it yours. This will reduce the time spent dealing with problems.
Substance 3D Designer用于创建地板的基础。通过这种方式，我能够快速确定图像的形状，但我意识到它与我正在考虑的图像略有不同，所以我在Substance 3D Painter中做了一些额外的工作。

如果在互联网上出现的东西有点令人失望，那么修改它并使其成为你的也是一个好主意。这将减少处理问题所花费的时间。

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When texturing in Substance 3D Painter, my default setting was set. Basically, the maps on board have color tones, so it's hard to see the exact value, and I recommend Tomoko Studio because of its achromatic environments. You can also set the tone mapping and sRGB settings to see a viewport environment similar to the defined values of Unreal's ACES color.
在 Substance 3D Painter 中进行纹理处理时，设置了我的默认设置。基本上，船上的地图都有色调，所以很难看到确切的值，我推荐Tomoko Studio，因为它的消色差环境。您还可以设置色调映射和sRGB设置，以查看类似于虚幻ACES颜色定义值的视口环境。

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For texturing, it is important to analyze what parts are needed to achieve the same feeling in 3D as in real life and to study how the material looks in the engine.

The texture itself is not special, but the way I do it is I grab a rough color tone and use the built-in Smart Material to get the details based on its tone base.

There are many technologies and workflows on the internet today. But all of them are of no use if you don't discover them. It's important to invest your time and find different ways to work, and if you don't think so, find other workflows and experiment.
对于纹理，重要的是要分析需要哪些零件才能在3D中实现与现实生活中相同的感觉，并研究材料在发动机中的外观。

纹理本身并不特别，但我这样做的方式是我抓住一个粗糙的色调，并使用内置的智能材质根据其色调基础获得细节。

如今，互联网上有许多技术和工作流程。但是，如果你没有发现它们，它们都是没有用的。投入时间并找到不同的工作方式非常重要，如果您不这么认为，请找到其他工作流程并进行实验。

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Rendering
For the lighting I used Lumen. Its Indirect Lighting is so good that anyone can easily create a high-quality lighting environment with a small number of lights. Only one directional light was used in this scene.

Indirect Lighting was adjusted by increasing the Indirect Lighting Intensity value in the directional light.
渲染
对于照明，我使用了流明。它的间接照明非常好，任何人都可以用少量的灯光轻松创建高质量的照明环境。此场景中仅使用了一个定向光。

通过增加定向光中的“间接照明强度”值来调整间接照明。

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In the Post Process Volume, I like Chromatic Aberration because you can get images of the same quality as in movies.
在后期处理卷中，我喜欢色差，因为您可以获得与电影中相同质量的图像。

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In order to make bright lighting in the daytime, you have to give more directional light than you think. The brightness of the screen varies slightly from monitor to monitor, so the completed image may look different to others. For the same reason, it is also a good idea to check the image on the mobile screen.
为了在白天提供明亮的照明，你必须提供比你想象的更多的定向光。屏幕的亮度因显示器而异，因此完成的图像可能看起来与其他图像不同。出于同样的原因，在移动屏幕上检查图像也是一个好主意。

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Conclusion
It took about a year and a half to finish because I had some other personal projects to work on. The most time-consuming step was to find the concept and references to refine it.

I think the most helpful thing for a beginning environmental artist is to focus on looking at and finding many references that you need. Also, to imitate the references that you found and make them your own. Believe in yourself and find a workflow and practices that fit your natural skills and best.

Lastly, I would like to thank the 80 Level team for giving me the opportunity to do this interview, and I would like to thank everyone who has read it.
结论
我花了大约一年半的时间才完成，因为我还有其他一些个人项目要做。最耗时的步骤是找到概念和参考资料来完善它。

我认为对于一个刚开始的环境艺术家来说，最有帮助的事情是专注于寻找和找到你需要的许多参考资料。此外，模仿您找到的参考资料并使其成为您自己的参考资料。相信自己，找到适合您自然技能和最佳技能的工作流程和实践。

最后，我要感谢80 Level团队给我机会做这次采访，我要感谢所有读过它的人。

Introduction
Hello, I'm Saerom Yoon, an Environmental Artist from Korea. I majored in Visual Design at university. I learned various topics at school but I was always interested in the environment, technology, and procedural arts. In the meantime, I found out that there is a field called game art and after graduation, I studied and became a game developer.

Making the stage of the game doesn't attract as much attention as the character in the spotlight, but I think the background work of creating a world and making it my own way is also very special.

Coincidentally and fortunately, I am honored to have the opportunity to share my know-how at 80 Level. I hope I can help you a little bit.
介绍
你好，我是来自韩国的环境艺术家Saerom Yoon。我在大学主修视觉设计。我在学校学习了各种主题，但我一直对环境，技术和程序艺术感兴趣。与此同时，我发现有一个领域叫做游戏艺术，毕业后，我学习并成为一名游戏开发人员。

制作游戏舞台并不像聚光灯下的角色那样吸引那么多的注意力，但我认为创造世界并使其成为我自己的方式的背景工作也非常特别。

巧合的是，幸运的是，我很荣幸有机会在80 Level分享我的专业知识。我希望我能帮你一点忙。



The Middle Temple Lane Project
I usually like to see various sceneries through Google. I found the Middle Temple Lane in England, which I wanted to make at least once, and I decided to make it.
中寺巷项目
我通常喜欢通过谷歌看到各种风景。我找到了英格兰的中殿巷，我想至少做一次，我决定做一次。

更多精彩图片 请登录

However, as I completed the first work, I wanted to try various things, so I decided to mix multiple concepts and make one scene. So, I found several pictures that started with that composition and constructed the entire building's shape. I decided to refer to the overall atmosphere of the concept art by Vilius Petrauskas:
然而，当我完成第一部作品时，我想尝试各种东西，所以我决定混合多个概念并制作一个场景。所以，我找到了几张从构图开始的图片，并构建了整个建筑的形状。我决定参考Vilius Petrauskas的概念艺术的整体氛围：

更多精彩图片 请登录

The goal was to complete the scene in one cut, so I could save the lump of the building rather than the details, and I made module parts thinking about versatility. These parts are not exactly the same as the actual building but they give off a sense of similarity when viewed at a certain distance.
目标是在一次剪切中完成场景，这样我就可以节省建筑物的块而不是细节，并且我制作了考虑多功能性的模块部件。这些部分与实际建筑物并不完全相同，但是当在一定距离观看时，它们会散发出一种相似感。

更多精彩图片 请登录

I set the general atmosphere, but I thought it would feel empty even if I filled the density, so I decided to add one more concept with storytelling. I thought that if I put a cultivated landscape garden that contrasts with the rough mountain ridge of the first image, I could not get tired of the opposite image and it would stimulate my imagination, so I worked on it.

When there is such blockage, it is often solved by configuring storytelling. It is important to see and enjoy various references regardless of genre.
我设定了一般的氛围，但我认为即使我填充了密度也会感到空虚，所以我决定在讲故事时再添加一个概念。我想，如果我放一个栽培的景观花园，与第一幅图像的崎岖山脊形成鲜明对比，我就不会厌倦相反的图像，它会激发我的想象力，所以我努力了。

当存在这种阻塞时，通常通过配置讲故事来解决。无论流派如何，查看和享受各种参考资料都很重要。

更多精彩图片 请登录

I found a concept based on the UBC Rose Garden by chance. Based on that center, I found a variety of similar references and added my own imagination to organize the layout and work based on that reference.
我偶然发现了一个基于UBC玫瑰园的概念。基于该中心，我找到了各种类似的参考资料，并添加了自己的想象力，以根据该参考资料组织布局和工作。

更多精彩图片 请登录

Referencing the concept, make a basic guide mesh with a box and assemble the parts used in the central building to make the overall side of the building. This is where the competence of the creator is most evident. It's best to learn how to assemble and which parts to use over and over again.

Overall, I worked with the feeling of looking up from the bottom, but in a certain section, I worked from the top to the bottom. The reason why I did this is that even if it's the same space, it's more visually interesting to look at it from various angles.
参考概念，用盒子做一个基本的引导网格，并组装中央建筑中使用的零件，使建筑物的整体一面。这是创作者的能力最明显的地方。最好学习如何组装以及一遍又一遍地使用哪些零件。

总的来说，我的工作感觉就像从底部向上看，但在某个部分，我从上到下工作。我这样做的原因是，即使它是同一个空间，从各个角度看它在视觉上也更有趣。

更多精彩图片 请登录

Vegetation & Composition
The following is an individual classification of the composition layer into which the vegetation will be placed.
植被与组成
以下是将植被放入的组成层的单独分类。

更多精彩图片 请登录

There was a small garden in the building itself, which became a reference, and I collected references to grow and organize it to fit my scene. If only the main image is composed roughly, the rest can be configured by changing the main image, so it is important to hold the main image well.

In my case, since the main building is neat, I think people will visit it often, and I found a reference – the main garden that requires a lot of people's help. References to the images and my inspiration were UBC Rose Garden, the garden from the movie Edward Scissorhands, and Hitman: Sapienza – the Weeding The Garden assessment.
建筑物本身有一个小花园，它成为参考，我收集参考资料来种植和组织它以适应我的场景。如果只是粗略地组成了主图像，则可以通过更改主图像来配置其余部分，因此保持良好的主图像非常重要。

就我而言，由于主楼整洁，我认为人们会经常参观它，我找到了一个参考 - 需要很多人帮助的主花园。参考这些图像和我的灵感是UBC玫瑰园，电影爱德华剪刀手的花园，以及杀手：Sapienza - 除草花园评估。

更多精彩图片 请登录

It is good that there are many images that I referred to but I removed unnecessary images and left only the main ones because otherwise, I could lose direction. This way, they produced what vegetables were needed for the composition.
我提到的许多图像是件好事，但我删除了不必要的图像，只留下了主要的图像，因为否则，我可能会失去方向。通过这种方式，他们生产了组成所需的蔬菜。

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Green: Organized vegetation for landscaping

Blue: Natural rough wood that will clean up the edges

Red: Special trees with a unique shape

Because the building is already shaped and not complicated in terms of composition, I cared about some of the props and assets arrangements around the line that looked simple. The vegetation, the largest part, is dense from the outside, the height decreases as you go inside, and the depth of the entire composition is simplified.
绿色：用于美化景观的有组织的植被

蓝色：天然粗糙的木材，可以清理边缘

红色：形状独特的特殊树木

因为建筑已经成型了，在构图上并不复杂，所以我很在意一些看起来很简单的道具和资产布置。植被是最大的部分，从外面很密集，高度随着你进去而降低，整个构图的深度被简化。

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The landscaping trees are made with the help of Mot Studio's SpeedTree – Boxwood Modeling.
景观树木是在Mot Studio的SpeedTree - Boxwood Modeling的帮助下制作的。

The following is the method of making landscaping shrubs and topiaries. They tried to modify it the same way they made the landscaping wood, but when they did that, the leaves would stick together only at the end. I was looking for a relatively even mesh function on the whole side, and I found out on YouTube that there was a corresponding function in 3d Max, so I tried it. The shrubs were made relatively easily because of their square shape, and they were modularized so that they could be modified and used at any time.
以下是制作园林绿化灌木和地形的方法。他们试图以与制作园林绿化木材相同的方式对其进行修改，但是当他们这样做时，叶子只会在最后粘在一起。我正在寻找整个侧面相对均匀的网格功能，我在YouTube上发现3d Max中有一个相应的功能，所以我尝试了一下。由于其方形形状，灌木的制作相对容易，并且它们是模块化的，因此可以随时修改和使用。

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I prepared a model and a leaf mesh that will be roughly made into a topiary. The more detailed the silhouette of the skeleton model is in the trapezoidal shape, the better the shape. Rather than the details, I focused on the topiary silhouette. The shape is large, so if the leaves are lumped together, they divide the bones and work.
我准备了一个模型和一个叶子网格，它们将大致制成一个拓扑。骨架模型的轮廓在梯形形状中越详细，形状就越好。而不是细节，我专注于拓扑轮廓。形状很大，所以如果叶子被拼凑在一起，它们会分裂骨头并工作。

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Quixel's trees were used for tall trees around the building. It is free for all Unreal Engine users, so you should try it. All the leaves and small plants in my environment were mainly processed/used in Quixel. If you want to be a professional biologist or if you don't want to learn how to make your own vegetation, we recommend using Megascans' resources to save time and focus on other tasks.
Quixel的树木用于建筑物周围的高大树木。它对所有虚幻引擎用户都是免费的，所以你应该试试。我环境中的所有叶子和小植物主要在Quixel中加工/使用。如果你想成为一名专业的生物学家，或者你不想学习如何制作自己的植被，我们建议使用Megascans的资源来节省时间并专注于其他任务。

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Substance 3D
During this work, I thought about introducing various work methods. There are three main programs that I used: Megascans, Substance 3D Designer, and Substance 3D Painter. I used the Smart Material generator tool to quickly achieve the desired texture. I always start with a basic color and then add a layer on top of it. The intention was to refer to the appropriate atmosphere rather than to see the work very closely, so I did not refer to the small details and proceeded quickly.
物质 3D
在这项工作中，我想过引入各种工作方法。我使用了三个主要程序：Megascans，Substance 3D Designer和Substance 3D Painter。我使用智能材质生成器工具快速获得所需的纹理。我总是从基本颜色开始，然后在其上添加一层。目的是提到适当的气氛，而不是非常仔细地看待工作，所以我没有提到小细节，而是迅速进行。

In the process, I saw a lot of references, I put them in the engine, and if they didn't match the image I pictured, I immediately found a different source and applied it to the engine.
在这个过程中，我看到了很多参考文献，我把它们放在引擎中，如果它们与我拍摄的图像不匹配，我立即找到一个不同的来源并将其应用于引擎。

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The rock workflow used in the engine:
引擎中使用的摇滚工作流程：
https://youtu.be/IR_MSpVS6Zg

Substance 3D Designer was used to create the foundation of the floor. Through this, I was able to quickly determine the shape of the image, but I realized that it was slightly different from the image I was thinking about, so I did some extra work in Substance 3D Painter.

If there's something that's a little disappointing in what came up on the internet, it's also a good idea to modify it and make it yours. This will reduce the time spent dealing with problems.
Substance 3D Designer用于创建地板的基础。通过这种方式，我能够快速确定图像的形状，但我意识到它与我正在考虑的图像略有不同，所以我在Substance 3D Painter中做了一些额外的工作。

如果在互联网上出现的东西有点令人失望，那么修改它并使其成为你的也是一个好主意。这将减少处理问题所花费的时间。

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When texturing in Substance 3D Painter, my default setting was set. Basically, the maps on board have color tones, so it's hard to see the exact value, and I recommend Tomoko Studio because of its achromatic environments. You can also set the tone mapping and sRGB settings to see a viewport environment similar to the defined values of Unreal's ACES color.
在 Substance 3D Painter 中进行纹理处理时，设置了我的默认设置。基本上，船上的地图都有色调，所以很难看到确切的值，我推荐Tomoko Studio，因为它的消色差环境。您还可以设置色调映射和sRGB设置，以查看类似于虚幻ACES颜色定义值的视口环境。

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For texturing, it is important to analyze what parts are needed to achieve the same feeling in 3D as in real life and to study how the material looks in the engine.

The texture itself is not special, but the way I do it is I grab a rough color tone and use the built-in Smart Material to get the details based on its tone base.

There are many technologies and workflows on the internet today. But all of them are of no use if you don't discover them. It's important to invest your time and find different ways to work, and if you don't think so, find other workflows and experiment.
对于纹理，重要的是要分析需要哪些零件才能在3D中实现与现实生活中相同的感觉，并研究材料在发动机中的外观。

纹理本身并不特别，但我这样做的方式是我抓住一个粗糙的色调，并使用内置的智能材质根据其色调基础获得细节。

如今，互联网上有许多技术和工作流程。但是，如果你没有发现它们，它们都是没有用的。投入时间并找到不同的工作方式非常重要，如果您不这么认为，请找到其他工作流程并进行实验。

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Rendering
For the lighting I used Lumen. Its Indirect Lighting is so good that anyone can easily create a high-quality lighting environment with a small number of lights. Only one directional light was used in this scene.

Indirect Lighting was adjusted by increasing the Indirect Lighting Intensity value in the directional light.
渲染
对于照明，我使用了流明。它的间接照明非常好，任何人都可以用少量的灯光轻松创建高质量的照明环境。此场景中仅使用了一个定向光。

通过增加定向光中的“间接照明强度”值来调整间接照明。

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In the Post Process Volume, I like Chromatic Aberration because you can get images of the same quality as in movies.
在后期处理卷中，我喜欢色差，因为您可以获得与电影中相同质量的图像。

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In order to make bright lighting in the daytime, you have to give more directional light than you think. The brightness of the screen varies slightly from monitor to monitor, so the completed image may look different to others. For the same reason, it is also a good idea to check the image on the mobile screen.
为了在白天提供明亮的照明，你必须提供比你想象的更多的定向光。屏幕的亮度因显示器而异，因此完成的图像可能看起来与其他图像不同。出于同样的原因，在移动屏幕上检查图像也是一个好主意。

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Conclusion
It took about a year and a half to finish because I had some other personal projects to work on. The most time-consuming step was to find the concept and references to refine it.

I think the most helpful thing for a beginning environmental artist is to focus on looking at and finding many references that you need. Also, to imitate the references that you found and make them your own. Believe in yourself and find a workflow and practices that fit your natural skills and best.

Lastly, I would like to thank the 80 Level team for giving me the opportunity to do this interview, and I would like to thank everyone who has read it.
结论
我花了大约一年半的时间才完成，因为我还有其他一些个人项目要做。最耗时的步骤是找到概念和参考资料来完善它。

我认为对于一个刚开始的环境艺术家来说，最有帮助的事情是专注于寻找和找到你需要的许多参考资料。此外，模仿您找到的参考资料并使其成为您自己的参考资料。相信自己，找到适合您自然技能和最佳技能的工作流程和实践。

最后，我要感谢80 Level团队给我机会做这次采访，我要感谢所有读过它的人。