創(chuàng)建宇宙飛船公共區(qū)域

本文將在您創(chuàng)建科幻內(nèi)部概念時，詳細(xì)介紹我的創(chuàng)作過程，例如“復(fù)古空間常識”。 用CG創(chuàng)建可信和有趣的作品可能是一個挑戰(zhàn)！ 我相信有機會接觸別人的過程，看到他們?nèi)绾螒?yīng)對挑戰(zhàn)，是保持積極性，繼續(xù)推進(jìn)自己的一個好辦法。 我將對此圖像進(jìn)行更高層次的概述，并介紹一些使用的工具和技術(shù)。

This article will give you some insight into my creative process when creating sci-fi interior concepts, such as the Retro Space Common featured here. Creating believable and interesting artwork with CG can be a challenge! I believe having access to other people's processes, and seeing how they each tackle the challenge, is a great way to stay motivated and continue pushing ourselves. I will give a higher level overview of the steps taken on this image, as well as show you some of the tools and techniques used.

Next in the series

I originally created this image of a retro sci-fi living quarters for a workshop I was giving on environment design and I was pretty pressed for time. I spent about 3-4 weeks in total on this piece. I didn't feel I had the time to fully detail out the scene and really achieve what I wanted from it, so I decided to spend more time and create a new scene with the same art style, using what I learned from the first one.

下一個系列

我最初創(chuàng)造了一個復(fù)古科幻生活區(qū)的形象，為我提供環(huán)境設(shè)計的車間。 我在這件事上總共花了3-4個星期。 我沒覺得我有時間充分詳細(xì)了解場景，真正實現(xiàn)了我想要的，所以我決定花更多的時間和創(chuàng)造一個同樣的藝術(shù)風(fēng)格的新場景，使用我從第一個學(xué)到的東西。

Reference!

I can't emphasize enough how important reference is when creating your artwork. Reference is there for you when you don't totally know what something looks like (which is probably 99% of the time). It is also there to inspire you when you aren't totally sure what to do next.

My references range from pictures of objects, equipment, and props, to screen captures of movies and games. Recently, the role of reference was defined so clearly to me: it should be used to answer questions and inform decisions.

Here is just a very small amount of the reference I gathered to prepare for this scene.

參考！

創(chuàng)建藝術(shù)作品時，我無法強調(diào)參考的重要性。 當(dāng)你不完全知道什么是什么樣的東西（這可能是99％的時間）的時候，你可以參考一下。 當(dāng)您不完全確定接下來要做什么時，也可以啟發(fā)您。

我的參考范圍從對象，設(shè)備和道具的圖片，到電影和游戲的截圖。 最近，引用的作用對我來說如此清楚：應(yīng)該用于回答問題并通知決策。

這里只是一個非常少量的參考，我收集了準(zhǔn)備這個場景。

Find the crack

Let's face it: starting a large project from scratch is always difficult. Whether it's a blank piece of paper, a blank Photoshop document, or an empty Maya scene, it can be a struggle to get started. I often recommend starting by 'finding the crack'. Start with a small task, such as designing a prop. This can often add some much needed motivation and confidence to keep pushing forward. Here is the very first thing I modeled for my retro-style images: a potato/tomato plant.

找到裂縫

讓我們面對它：從頭開始一個大型項目總是很難。 無論是一張空白的紙張，一張空白的Photoshop文檔，還是一個空的Maya場景，都可能很難開始。 我經(jīng)常建議從“找到裂縫”開始。 從一個小任務(wù)開始，比如設(shè)計一個道具。 這往往會增加一些急需的動力和信心，繼續(xù)推進(jìn)。 這是我為我的復(fù)古風(fēng)格圖像建立的第一件事：一個馬鈴薯/番茄植物。

The block-out

Just as important as the other first steps, creating a great block-out must happen before you are to move too far forward with your artwork. When working in 3D we should consider our block-out the same way a painter or illustrator considers their initial sketches. It helps lay the foundation of what our final composition will be as well as the look and feel of the final image. As with a sketch, our block-outs should stay as loose and malleable as possible for as long as possible. The quicker we can make changes the quicker we can get to good layout and composition for our artwork.

封鎖

與其他第一步同樣重要，創(chuàng)造一個偉大的封鎖必須發(fā)生在你要與你的作品走得太遠(yuǎn)的前進(jìn)之前。 當(dāng)在3D工作時，我們應(yīng)該考慮我們的封鎖與畫家或插畫家認(rèn)為他們的初步草圖相同的方式。 它有助于奠定我們的最終作品以及最終形象的外觀和感覺的基礎(chǔ)。 與草圖一樣，我們的封鎖應(yīng)盡可能長時間保持盡可能寬松和可延展。 我們可以更快地進(jìn)行更改，我們可以更好地獲得良好的布局和作品的作品。

Modeling

When creating artwork for myself, I tend to try and model things as quickly and as easily as possible. Some may say the model is 'sloppy', but for me the key to creating an interesting piece is more about the whole and less about each individual asset. As long as the model doesn't look bad in the final image, I'm happy with it. Being able to focus on what is important for the final image is key to completing a complex image.

Little-by-little, prop-by-prop, I fill in the final scene with all finished models. I'm always going back and forth between texturing, lighting, and modeling. I adjust aspects of the scene any time a new asset comes in. This ensures that the overall composition and feeling is staying with what I intended.

造型

當(dāng)為自己創(chuàng)作作品時，我傾向于盡可能快速地，盡可能地嘗試模擬事物。 有些人可能會說這個模型是“草率”的，但對我來說，創(chuàng)造一個有趣的作品的關(guān)鍵是更多關(guān)于每個單獨的資產(chǎn)。 只要模型在最終形象中看起來不錯，我很高興。 能夠?qū)Ｗ⒂趯ψ罱K圖像至關(guān)重要的是完成復(fù)雜圖像的關(guān)鍵。

一點一點的道具，我填寫所有成品的最終場景。 我總是在紋理，照明和建模之間來回走動。 隨著新資產(chǎn)的進(jìn)入，我調(diào)整了現(xiàn)場的各個方面，這樣可以確保整體的組合和感覺與我的意圖保持一致。

Textures and shaders

The texturing for this piece was also very quickly done. I had lots of books, magazines, pictures and such to cover. The quickest way I found to handle this was similar to how I would do it for games: large texture sheets where one sheet holds multiple textures on it. This sped up my process a lot!

As mentioned, I tend to model and texture very quickly and a bit sloppily. But when it comes to my shaders, I try to slow down and really spend the time needed to achieve the accuracy of the materials I'm aiming for. I've found if you can nail the look of a shader, very little texturing will be needed overall. The shader does all the heavy lifting!

紋理和著色器

這件作品的紋理也很快完成。 我有很多書，雜志，圖片等等。 我發(fā)現(xiàn)處理這個最快的方式與我將如何做游戲相似：大的紋理表，其中一張紙保持多個紋理。 這加快了我的過程很多！

如上所述，我傾向于非�？焖俚啬�擬和紋理，并且有點茫然。 但是，當(dāng)談到我的著色器時，我試圖放慢速度，真正花費時間來實現(xiàn)我所瞄準(zhǔn)的材料的準(zhǔn)確性。 我發(fā)現(xiàn)如果你可以指定一個著色器的外觀，很少需要紋理整體。 著色器全部重起！

Lighting

I used V-Ray for lighting. This image was both challenging and easy to light. It's basically lit with large fluorescent fixtures. This is a pretty easy setup to achieve with V-Ray, but doesn't exactly give the most interesting look to the image. In the end, I decided to keep it because I was going for a kind of 'day in the life' feeling for this piece, and I felt the standard lighting helped reinforce that.

燈光

我用V-Ray照明。 這張照片既有挑戰(zhàn)又容易照亮。 它基本上亮起了大型熒光燈。 這是一個非常容易的設(shè)置來實現(xiàn)與V-Ray，但并不完全給圖像最有趣的外觀。 最后，我決定保留它，因為我正在為這件作品提供一種“生活中的一天”的感覺，而且我覺得標(biāo)準(zhǔn)照明有助于鞏固這一點。

Compositing and Photoshop

In my process, the final compositing and Photoshop pass is very important. After working with the matte painting team at Blizzard for 3 years, I learned how powerful of a step it can be! I tend to try and get my beauty pass from Maya to look as clean as possible, but I know I will be doing a lot of color correction, photo overlays and tweaking of the final image later on.

In this step, I add a lot of my grunge, texture, and fine details. Doing it in Photoshop is much faster than doing it all in 3D, and it gives me the ability to quickly color correct and adjust layers without having to re-render over and over again.

I also use this step to add final touches and color grading to the overall image. I typically run it through Photoshop's ?Camera Raw' functions for color grading. I also used Photoshop to add noise, sharpening, vignetting, and a slight stylized Chromatic Aberration.

合成和Photoshop

在我的過程中，最終的合成和Photoshop通過非常重要。 在Blizzard的啞光繪畫團隊工作了3年之后，我學(xué)會了如何強大的一步！ 我傾向于嘗試從Maya的通行證盡可能的清潔，但我知道我將在以后進(jìn)行大量的顏色校正，照片疊加和調(diào)整最終的圖像。

在這一步，我添加了很多我的垃圾，紋理和細(xì)節(jié)。 在Photoshop中做的比在3D中做的要快得多，它使我能夠快速顏色校正和調(diào)整圖層，而無需重復(fù)再次渲染。

我也使用這一步添加最終的觸摸和顏色分級到整體的圖像。 我通常通過Photoshop的“相機原始”功能進(jìn)行顏色分級。 我還使用Photoshop添加噪音，銳化，漸暈和輕微的風(fēng)格化色差。

As CG artists, 'computer graphics' is our medium. And as artists, we must master our medium before we can start creating great art. We should always be learning, practicing and creating.

I hope this quick breakdown of my process has helped you to see how someone else would approach a problem, and will perhaps inspire you to continue creating your own images and art.

作為CG藝術(shù)家，“計算機圖形”是我們的媒介。 作為藝術(shù)家，我們必須掌握我們的媒介，才能開始創(chuàng)造偉大的藝術(shù)。 我們應(yīng)該永遠(yuǎn)在學(xué)習(xí)，練習(xí)和創(chuàng)造。

我希望這個快速崩潰的過程有助于您了解別人如何處理問題，也許會激勵您繼續(xù)創(chuàng)建自己的圖像和藝術(shù)。