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本帖最后由 对bu起 于 2022-8-18 15:31 编辑
Introduction
Hi! My name is Ariel Adasme, I’m a 2D/3D artist from Santiago, Chile; and I have recently graduated from Digital Animation, and focused my work on environment art and game art.
Since I was a kid, I’ve been curious about how video games are made, but it was in my last year of university when I really found out where I wanted to insert myself as an Environment Artist. Since that moment I dedicated my time to studying as much as I could to create a portfolio that reflected my passion for bringing life to environments.
介绍
你好！我的名字是Ariel Adasme，我是来自智利圣地亚哥的2D / 3D艺术家;我最近从数字动画专业毕业，专注于环境艺术和游戏艺术。
从我小时候起，我就一直对电子游戏是如何制作的感到好奇，但是在我大学的最后一年，我才真正发现自己想把自己作为一名环境艺术家插入到哪里。从那一刻起，我投入到尽可能多的学习中，以创建一个反映我对为环境带来生命的热情的作品集。
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Goals and Concept Process
When I started the project, I always wanted to create something that paid homage to my referents and what I believe is important to me. I wanted to achieve something fully stylized and colorful, very much along the lines of Zelda: Breath of the Wild or Ghibli Studio.
Having never been faced with such a big project as this one before, it was very helpful to start by studying the work of Jasmin Habezai-Fekri, Jaume Rovira, Silke Van Der Smissen, and Florian Elie, as I centered on the objective of having a complete pipeline of work focused on a stylized look. They really gave me a push and a direction on what style of art I wanted to get into.
目标和概念流程
当我开始这个项目时，我一直想创造一些东西，向我的推荐人致敬，以及我认为对我很重要的东西。我想实现一些完全程式化和丰富多彩的东西，非常类似于塞尔达传说：荒野之息或吉卜力工作室。
以前从未遇到过像这样的大项目，从研究Jasmin Habezai-Fekri，Jaume Rovira，Silke Van Der Smissen和Florian Elie的工作开始是非常有帮助的，因为我专注于将完整的工作流程集中在风格化的外观上。他们真的给了我一个推动力和方向，让我了解我想要进入的艺术风格。
When I start the conceptualization, I always have my mood board/references by my side to find out the general mood of my scene. Having clearly defined what I wanted to do, I elaborated a mini concept with keynotes about the type of island I wanted to create, as well as a mini-investigation of what story the place would have.
Broadly speaking, the story was inspired by Greek mythology and the cloud nymph character, Nephele. The idea was that these nymphs once upon a time lived on this island which now is abandoned.
当我开始概念化时，我总是有我的情绪板/参考资料在我身边，以找出我场景的一般情绪。在明确定义了我想做什么之后，我详细阐述了一个迷你概念，并就我想创造的岛屿类型进行了主题演讲，并对这个地方将有什么故事进行了小型调查。
从广义上讲，这个故事的灵感来自希腊神话和云仙女角色Nephele。这个想法是，这些若虫曾经生活在这个岛上，现在已经被遗弃了。
The next step was to define the central concept which I would work on and make it my main shot as well. I wanted a concept where depth and difference of scales between the elements in the scene will be perceived. Moreover, at this point, I also defined the concepts on which the assets within the scene would be based.
下一步是定义我将要处理的核心概念，并将其作为我的主要镜头。我想要一个概念，在这个概念中，场景中元素之间的深度和尺度差异将被感知。此外，在这一点上，我还定义了场景中的资源所基于的概念。
Setting the Scale and the Terrain
Before I started with Unreal, to guide myself on the main idea and the scale of the landscape, I elaborated a concept map of the island. This process helped me to achieve some ideas about the scale. I decided that it would be a scene focused on magnificence and the difference in scale between the elements in the scene, from the macro to the micro.
设置比例和地形
在我开始使用虚幻引擎之前，为了指导自己了解主要想法和景观比例，我制作了一个岛屿的概念图。这个过程帮助我实现了一些关于规模的想法。我决定这将是一个专注于壮丽的场景，以及场景中元素之间从宏观到微观的尺度差异。
Thereafter, it was time to take my first step on the block out – I made it thinking on the main concept, starting from very simple meshes, playing around with the landscape tools using some alphas for the terrain.
After that, as I focused on finding a good scale ratio, I made some changes in order to improve the scene composition and to find the perfect ratio to accentuate the tower in the scene. In this step, I added the Skylight, Directional Light, and Exponential Height Fog to create a basic mood.
此后，是时候迈出第一步了 ——我让它思考了主要概念，从非常简单的网格开始，使用一些地形的阿尔法来玩景观工具。
在那之后，当我专注于寻找一个好的比例时，我做了一些改变，以改善场景构图，并找到完美的比例来突出场景中的塔。在此步骤中，我添加了天窗、定向光和指数高度雾来创建基本情绪。
Asset Creation
I organized the production of assets through the concept guide that I had already made, and I divided the assets into modular blocks. For modeling, I used Blender, with quite simple primitives. Once the models were defined, I worked on a high poly version of every asset on ZBrush, as I wanted to texturize every prop uniquely in Substance 3D Painter and accentuate every detail sculpted inside the bake.
For the stones, I tried to keep it simple: just three big stones and three smaller ones. I used ZBrush, without entering a workflow with procedural rocks, just with the help of the brushes that Michel Vicente had shared on Gumroad. I tried to be careful when working every angle differently, with strong silhouettes and shapes to make the set dressing process much easier.
资产创建
我通过我已经制作的概念指南组织了资产的生产，并将资产划分为模块化块。对于建模，我使用了Blender，具有非常简单的基元。定义模型后，我在ZBrush上处理每个资源的高多边形版本，因为我想在Substance 3D Painter中对每个道具进行独特的纹理化，并强调烘焙中雕刻的每个细节。
对于石头，我试图保持简单：只有三块大石头和三块小石头。我使用了ZBrush，没有进入程序性岩石的工作流程，只是在Michel Vicente在Gumroad上分享的画笔的帮助下。在以不同的方式处理每个角度时，我都尽量小心，使用强烈的轮廓和形状，使布景的着装过程变得更加容易。
Texturing
For me, the texturing process was quite a challenge, since I was rather new using Substance 3D Designer and Substance 3D Painter. In the beginning, I divided the process between the assets that I would work with in Substance 3D Painter and the materials that I would prepare on Substance 3D Designer for my landscape material.
As I wanted a more stylized approach, I tried to make it simple using some techniques learned on Stylized Station. I started working in layers and used a variety of filters and Smart Mask, which helped to achieve the approach that I wanted.
纹理
对我来说，纹理加工过程是一个相当大的挑战，因为我是使用Substance 3D Designer和Substance 3D Painter的新手。一开始，我将在 Substance 3D Painter 中使用的资源和在 Substance 3D Designer 上为我的景观材质准备的材质之间划分了流程。
由于我想要一种更加风格化的方法，我试图使用在风格化工作站上学到的一些技术来简化它。我开始在图层中工作，并使用各种滤镜和智能蒙版，这有助于实现我想要的方法。
To obtain a hand-painted look, I added Slope Blur, which works very well for more stylized texturing, since it allows adding custom noise inside the source type. In my situation, I used a texture of clouds to achieve that watercolor-like effect.
From there, I continued with the Dirt Mask with which I was able to simulate vegetation attached to edifications and statues, with the Ambient Occlusion Mask tool I could reinforce some ambient shadows, and finally, the Curvature tool allowed me to define edges lines and make them more pronounced.
为了获得手绘外观，我添加了 Slope Blur，它非常适合更风格化的纹理，因为它允许在源类型中添加自定义噪声。在我的情况下，我使用云的纹理来实现水彩般的效果。
从那里，我继续使用污垢蒙版，我能够模拟附着在启蒙和雕像上的植被，使用环境光遮罩工具，我可以加强一些环境阴影，最后，曲率工具允许我定义边缘线并使其更加明显。
As it was quite new to me, the workflow within Substance 3D Designer was a bit more complicated, so I took on the task of studying everything I could about it to achieve a more streamlined approach. Fortunately, within my research, I found the AnArtBrand YouTube channel, which has a very useful video on how to make art as seen in the Arcane series.
After this process, I had an idea of how I wanted to work on my materials, so I prepared the dirt of my terrain, the bark of the trees, the texture for stones, and a texture for the smaller stones.
由于它对我来说是相当新的，Substance 3D Designer中的工作流程有点复杂，所以我承担了研究所有关于它的任务，以实现更简化的方法。幸运的是，在我的研究中，我找到了AnArtBrand YouTube频道，该频道有一个非常有用的视频，介绍如何制作Arcane系列中的艺术。
经过这个过程，我对我想要如何处理我的材料有了一个想法，所以我准备了我的地形的泥土，树皮，石头的纹理，以及小石头的纹理。
Stylized Nature
As for the trees and foliage, I started by analyzing some insights about vegetation inside the films of Studio Ghibli, this helped me to clarify and organize my ideas regarding how my final trees should look like. The next step was to find a workflow to reach my goals on these 3D/2D types of trees, luckily I found a highly interesting tutorial about how to make trees by transferring normals from a half-sphere to my leaf cards.
风格化的性质
至于树木和树叶，我首先分析了吉卜力工作室电影中关于植被的一些见解，这有助于我澄清和组织我对最终树木应该是什么样子的想法。下一步是找到一个工作流程来达到我在这些3D / 2D类型的树上的目标，幸运的是，我找到了一个非常有趣的教程，关于如何通过将法线从半球体转移到我的叶卡来制作树。
I used the tool particles of Blender for the process of creating the trees, making an intersection between two planes to use them over spheres as particles. To arrange the normals on the leaf cards, I used the modifier of Transfer Data, transferring the normals of a half-sphere to the mentioned mesh. As a result, the look of the trees was much closer to what I was looking for.
我使用Blender的工具粒子来创建树的过程，在两个平面之间做一个交集，将它们用作球体上的粒子。为了在叶卡上排列法线，我使用了传输数据的修饰符，将半球体的法线传输到上述网格。结果，树木的外观更接近我想要的东西。
The next step was to prepare some alphas for the process of the shader creation inside Unreal. Having this, what was left to do was the configuration of the shader, so I did it by setting the Blend Mode to Masked, the Shading Model to Two Sided, and checking the Two Sided option. Then I deactivated the contact shadows and fixed the normals with the TwoSidedSign node. Here you can take a look at a small process and my material graph.
下一步是为虚幻引擎内部的着色器创建过程准备一些 Alpha。有了这个，剩下的就是着色器的配置，所以我通过将混合模式设置为蒙版，将着色模型设置为双面，并选中双面选项来做到这一点。然后，我停用了接触阴影，并使用 TwoSidedSign 节点修复了法线。在这里，您可以看一个小过程和我的材料图。
As for the grass, I relied entirely on Florian Elie’s article in which he explained the process that he used in Unreal to get this variation of color on the grass, following this post on the Unreal Engine forum.
To emulate the process, I designed my own texture in Substance 3D Designer and I retouched it in Photoshop, using the Smudge tool to soften the color transitions and avoid contrasting solid blocks of colors, but rather a fluid variation from one color to another.
至于草，我完全依赖Florian Elie的文章，他在其中解释了他在虚幻引擎论坛上发表的这篇文章之后，在虚幻引擎论坛上使用的过程，以便在草地上获得这种颜色的变化。
为了模拟这个过程，我在Substance 3D Designer中设计了自己的纹理，并在Photoshop中对其进行了修饰，使用Smudge工具柔化颜色过渡并避免对比实心色块，而是从一种颜色到另一种颜色的流畅变化。
For the Mesh Grass, I worked on some alphas that I organized on three levels, according to their height. Then, I created three different Mesh Grass for these alphas, randomly positioning them in between to contribute to the density inside the scene. Beyond that, I altered the normals of these Grass Planes for these to point upwards to get the correct shading for grass.
对于Mesh Grass，我根据它们的高度在三个层面上组织了一些alpha。然后，我为这些 alpha 创建了三种不同的网格草，将它们随机放置在两者之间，以增加场景内的密度。除此之外，我改变了这些草平面的法线，使它们指向上方，以获得正确的草阴影。
Lastly, I elaborated on some flower mesh, following the steps of Thomas Hooke’s breakdown, which was in his Stylized Station video, but I did some color variations within the textures to create more range of color inside the flowers.
最后，我按照托马斯·胡克（Thomas Hooke）的分解步骤，在他的风格化站视频中详细阐述了一些花网，但我在纹理中做了一些颜色变化，以在花朵内部创造更多范围的颜色。
Assembling the Scene
Probably one of the most time-consuming things in my project was the preparation of the shots because I had to detail each one of them separately while trying to preserve the contemplative essence of Studio Ghibli inside the camera’s work. So, to prepare the shots, I worked on bringing as much life as I could to the scene.
I used the simple Winds Node for the grass and the trees, giving them more movement. The grass also has the detail of these "wind-lines", that give it a rippling glow when the wind blows; this was possible due to Jess Hider’s informative guide that's available on her website.
组装场景
在我的项目中，最耗时的事情之一可能是准备镜头，因为我必须分别详细描述每个镜头，同时试图在摄影机的工作中保留吉卜力工作室的沉思本质。因此，为了准备镜头，我努力为现场带来尽可能多的生命。
我对草地和树木使用了简单的Winds Node，给它们更多的运动。草也有这些“风线”的细节，当风吹时，它会发出涟漪的光芒;这是可能的，因为Jess Hider的信息指南可以在她的网站上找到。
Along with this process, I also created a waves texture, which will serve as the wind mask.
An important element inside the scene was the use of fog cards to help enhance the mood of the island, these fog cards came included in The Blueprints Project on Unreal Marketplace. The final touch was to add RVT blending to the materials inside my scene, which gave me the beautiful gradients of the intersections of the assets with the landscape.
在这个过程的同时，我还创建了一个波浪纹理，它将作为风遮罩。
场景中的一个重要元素是使用雾卡来帮助增强岛屿的气氛，这些雾卡包含在虚幻商城的蓝图项目中。最后的处理是将 RVT 混合添加到场景中的材质中，这为我提供了资源与景观相交的美丽渐变。
Water
Water was a difficult task and it was the result of a variety of tutorials that I found and combined depending on what I needed. Along the way, I found Simon Schreibt’s tech talk about the water inside RIME, which was of great help to comprehend and achieve my final goal of water inside the scene. I totally recommend it.
If we talk about the material, using the Depth Fade was really easy to create the depth of water and was easily customizable. Also, I had the problem of the repetition of the water normal, but with the help of the informative guide within the WorldofLevelDesign channel, I worked these normals in 3 layers with different tile sizes, which eliminated the tile repetition of the water, and this helped it look much better from a distance.
水
水是一项艰巨的任务，它是我根据自己的需要找到并组合的各种教程的结果。一路上，我发现了Simon Schreibt关于RIME内部水的技术讨论，这对理解和实现我在场景中的水的最终目标有很大的帮助。我完全推荐它。
如果我们谈论材质，使用深度淡入淡出非常容易创建水深，并且可以轻松自定义。此外，我遇到了水法线重复的问题，但是在WorldofLevelDesign频道中的信息指南的帮助下，我在3层中以不同的图块尺寸将这些法线工作，这消除了水的图块重复，这有助于从远处看起来更好。
Skybox
Achieving a Skybox totally stylized and similar to my references, was one of my main goals in this environment. This process was the one I enjoyed the most, painting clouds is always very relaxing. I started by painting two different cloud textures over on a base HDRI in Photoshop, as I just wanted to use them inside Unreal as Translucent Materials separated into different Skyspheres with different values in the Panner node, to create this parallax effect. Also, I added another Skysphere using a color gradient in the base color, to simulate the sky and make it fully editable with parameters.
天空盒
实现一个完全程式化的Skybox，类似于我的参考，是我在这种环境中的主要目标之一。这个过程是我最喜欢的，画云总是很放松。我首先在Photoshop中的基础HDRI上绘制两种不同的云纹理，因为我只想在虚幻引擎中将它们用作半透明材质，这些材质在Panner节点中分成具有不同值的不同Skysphere，以创建这种视差效果。此外，我还使用基色中的颜色渐变添加了另一个Skysphere，以模拟天空并使其完全可以使用参数进行编辑。
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Lighting and Post-Process
One of the reasons for developing this environment in UE5 was to use Lumen. Seeing those bounces of light in real-time really makes it a very powerful tool, and it's really exciting to know that it looks very promising for the future.
There were some problems along the way while Unreal 5 was in its Early Access version, such as too noisy shadows on vegetation, or not supporting translucency and opacity masks. Later, I moved on to its Preview 2 version, and those problems were mostly fixed.
照明和后期处理
在UE5中开发这种环境的原因之一是使用Lumen。实时看到这些光的反弹确实使它成为一个非常强大的工具，并且知道它对未来看起来非常有希望，这真的很令人兴奋。
虚幻5处于抢先体验版的过程中出现了一些问题，例如植被上的阴影过于嘈杂，或者不支持半透明和不透明蒙版。后来，我转到了它的预览版2，这些问题大多得到了修复。
To begin with, all the lights in the process were dynamic. At first, I struggled a bit with getting more stylized lighting, but I managed to balance the lighting with the help of two directional lights in addition to the main one, supporting the shadows with blue fill light, and a warm one to accentuate some details, as well as accentuating focal points with some spotlights.
Also, to work much more on the mood of the environment, I added an exponential height fog, and a sphere with an emissive material, to simulate the sun a little bit. Then, when I finished, I added some details in the post-processing, giving more value to the shadows, accentuating some colors, activating the lens flare for the sun, giving contrast to the scene, and some chromatic aberration for that cinematic effect.
首先，这个过程中的所有灯光都是动态的。起初，我在获得更多风格化的照明方面有点挣扎，但是除了主要灯光之外，我还设法在两个定向灯光的帮助下平衡了照明，用蓝色补光支撑阴影，用温暖的补光来突出一些细节，以及用一些聚光灯突出焦点。
此外，为了更多地了解环境的情绪，我添加了一个指数高度雾和一个带有发光材质的球体，以模拟太阳。然后，当我完成时，我在后期处理中添加了一些细节，为阴影赋予了更多价值，突出了一些颜色，为太阳激活了镜头眩光，为场景提供了对比度，并为电影效果提供了一些色差。
Final Thoughts
This was my first major project focused on stylization, as well as my first approach to finding what I want to do from now on. It was a very challenging project, in terms of art direction and creating a workflow that worked with my goals. The project took me about 6 months to develop, in which I learned many things along the way, seeing and revising as much as I could.
One of the keys to achieving these goals is the correct planning of each task. It took me a while to realize where I wanted to go and how to plan them so that they would work out in the end.
最后的思考
这是我第一个专注于风格化的主要项目，也是我从现在开始找到我想做的事情的第一种方法。这是一个非常具有挑战性的项目，就艺术指导和创建符合我目标的工作流程而言。这个项目花了我大约6个月的时间来开发，在这个过程中，我学到了很多东西，尽可能多地看到和修改。
实现这些目标的关键之一是正确规划每项任务。我花了一段时间才意识到我想去哪里以及如何计划它们，以便它们最终能够解决。
I think the best advice is to stay inspired, keep your references up, learn from other artists, and keep creating. I believe there is an amazing network of artists who share their tutorials and knowledge, and it is very valuable to learn from them when you start a project.
Finally, thanks to 80 Level for the interview, I hope this information was useful to someone! Thanks for reading!
我认为最好的建议是保持灵感，保持你的参考，向其他艺术家学习，并继续创作。我相信有一个惊人的艺术家网络，他们分享他们的教程和知识，当你开始一个项目时，向他们学习是非常有价值的。
最后，感谢80 Level的采访，我希望这些信息对某人有用！感谢您的阅读！
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