Pauline: I’m 25 years old, and I come from a little place called Médière in the east of France. I’m actually a ‘happy accident’ in the 3D community: I always dreamed of becoming a groom and working with horses, but after a severe injury I was told that working in that field wasn’t an option anymore. At that time, I was lucky to have a mom playing a lot of Zelda, and I spent a lot of time watching her. That’s how I got into video games!

Pauline: 我今年25岁,来自于法国东部的一个小地方Médière。进入3D行业工作实属“偶然事件”:过去我一直梦想成为一名马夫,从事与饲马有关的工作。但是我受过一次重伤,之后便被告知我今后不可能从事与饲马相关的工作了。那时候我很幸运,我妈妈经常玩Zelda(塞尔达),我大部分时间都在看她玩这个游戏,这样我便进入了视频游戏领域。

I moved to Paris 8 years ago to study Game Art at ISART Digital, and I got my master’s degree 3 years ago. I’ve been working as a freelance artist for a bit more than 4 years now. I did a lot of illustration at first and now I teach Substance Designer, Substance Painter and a little bit of Zbrush.

8年前我来到巴黎,在ISART Digital(https://www.isart.com/en/)学习游戏艺术,并于3年前获得硕士学位。至今,我已经做了4年多的自由美术师。开始我制作插画,而且做了很多,现在我教授Substance Designer, Substance Painter以及一些Zbrush的相关内容。

I first discovered Substance at school. We were still creating all of our textures with Photoshop at the time, and we had a presentation of Substance Designer during a night class. The ‘wow’ effect was all over the place. It looked so easy, and it could give us a lot of options…

最初我是在上学的时候发现Substance的。那时我们还在使用Photoshop创建所有的纹理,在一次晚课的时候我们有一个Substance Designer的演示。当时到处是一片欢呼声。这款软件看起来容易操作,让我们也有许多选择。

But once I got my hands in it, I hated the whole thing. It felt too much like creating shaders in Unreal Engine. The use of nodes was one of the most challenging things I had to work out.

Art by Pauline Boiteux
但是当我真正使用这个软件的时候,我就开始讨厌这个软件中所有的内容。使用这款软件如同使用Unreal Engine创建着色器一样。但节点用法是这款软件中最难的任务之一。

Learning Substance Designer | 学习Substance Designer

After getting my degree, I worked as an illustrator until I lost my primary client. I became really depressed and didn’t do a lot for some time. At that time, I was so lucky to have great people around me. At one point I told myself, “Well, at least now you have the time to try.” So I did.

获得硕士学位后,我一直做插图工作,后来我失去了主要客户。我当时真的是非常抑郁,有一段时间我也没做太多的插图工作。那个时候我很幸运周围有许多了不起的人物。我告诉自己,“至少现在我有时间开始尝试”。

Since school I’d always loved lighting; it was the most gratifying part to me. I quickly realized that lights come with shaders and shaders also come with textures! I’m a bit lazy, so I didn’t want to spent too much time on modeling. Even today, I find shaders terrifying. That’s how I began using the simple plane in Substance Designer and tried, failed, tried again, and finally got into it.

从上学开始我就一直喜欢灯光;这也是最令我满意的部分。我很快就意识到,有灯光就需要着色器,有着色器也就有纹理!我有点懒,所以就不想花费太多的时间建模。甚至现在我认为着色器也是非常令人讨厌的工具。因此我开始在Substance Designer中使用简单的平面,尝试,失败,再尝试,我终于学会了。

The more I did it, the more fun and exciting it became. So, as weird as it may sound, instead of spending my days playing Overwatch, I now spend my days playing Substance Designer!

Art by Pauline Boiteux
使用的越多,就越发有趣和令人兴奋。所以,这件事听起来有些奇怪,我每天不再沉溺于玩《守望先锋(Overwatch)》。取而代之,现在每天我都在使用Substance Designr!

I don’t think I have a specialty, and I honestly don’t want one. I just try to challenge myself and have fun. The trims and arabesques are the fun part, and the work on the roughness map is the ‘oddly satisfying’ part. I tend to focus on those a lot, but I really don’t mind if it’s a wall, a fabric, some ground, or even a single piece like the oil painting. I like to just try!

我并不认为我有什么专长,老实地讲,我也不需要专长。我只是想挑战一下自己,娱乐一下。有趣的部分是装饰和蔓藤花纹部分,制作粗糙度贴图是奇怪且令人满意的。我往往关注以上内容多一些,但是实际上我并不介意它是墙,织物,地表,甚至像一幅油画这样的一个作品。我只是喜欢尝试!

My inspirations come from everywhere, I’m the kind of person who stops every 5 meters to take a picture in every new place that I come across. Discovering Japan with my boyfriend was game-changing. Fabrics tend to be inspired by my mom, who’s a seamstress, and who always has new fabrics and cool stuff in her workshop. And lastly, the internet: Artstation, Textures.com, and Pinterest are a huge help in getting ideas.

我创作的灵感随处而来。我每走5米就会停下来,在刚来到的新地方拍一张照片。和男友一起探索日本改变了游戏规则。制作面料我是受裁缝师妈妈影响,她的工作室总有一些新的布料和很酷的材料。最后是网络:Artstation ,Textures.com和Pinterest对于我获取创意有很大的帮助。

Art by Pauline Boiteux

Teaching at ISART Digital | 在ISART Digital教学

I started giving classes last year. I teach Substance Designer and Substance Painter, giving introduction classes to the 3rd year students and providing support on their projects throughout the year.

去年我开始教学。我教授Substance Designer和Substance Painter,给3年级学生讲解入门课程,并在整个学年为他们的项目提供支持。

For Substance Designer, it’s really more about demystifying the nodal part. Once you understand that it works more or less like layers in Photoshop, you’re not focusing on the technical part anymore. That way the question you have to answer is not, ‘how do I do that?’ but more, ‘what else can I do?’ Teaching Zbrush came a little later.

就Substance Designer而言,这款软件更注重揭开节点内容的神秘面纱。如果明白使用节点就或多或少如同使用Photoshop制作层级一样,不需要关注技术层面的内容。这样你需要回答的问题就不是“我该怎样做?”而更多的是“我还能做什么?”在教授这些内容之后,还教授Zbrush部分。

I honestly discovered an all-new part of my already great job. Teaching is so exciting, and every single person has his or her own way of thinking through a problem. All these points of view make you consider things yourself, and the more you listen and try to explain, the more you actually understand what you’re doing.

老实地讲,我发现了这份本来就不错的工作全新的一面。教学非常有趣,每个人都有其独特的解决问题的方式。有了大家的这些观点,你就要独立思考,你听的越多,想要解释的越多,你就会更理解现在所做的工作。

‘Never assume that you know what you’re doing.’ That’s the main tip I give. If you start creating wood, for example, and you go, “Yeah, well, wood is like big wavy lines with nodes in it, and it’s mainly brown.” Sure! It may, in the end, look like something. But if you take the time to look at pictures – or, even better, to get some real wood, and look at it from every angle, touch it, take the time to spot little details – you’ll get a better result.

我给大家一个重要提示,“永远不要认为你知道你现在所做的内容。”例如,如果你要创建木材,你会说“太好了,木材就像有节点的大波浪线,主要是棕色。”当然!最后可能会有点类似。但是如果你仔细看看图片,或者最好,找来真正的木头,从每个角度仔细看,用手触摸它,花点时间看看细节,你就会得到更好的效果。

Art by Pauline Boiteux

For me, creating a material is 50% observation, 50% doing. That’s one of the common mistakes people make – they forget about their reference and go full steam ahead without taking a step back.

就我自己而言,创建材质需要50%的观察,50%的实践。这也是人们经常犯的错误之一 – 他们忘记参考物,直接制作而不反思。

Also, don’t give up because you think it’s too hard. It is. But learning something new is tough and takes time. Some students tend to be really hard on themselves if they don’t succeed in their first attempts. Give yourself some time, and keep trying, and you’ll come around.

而且,不要因为你认为太难了而放弃。确实难。但是学习新内容是一件比较困难的事,也需要时间。有些学生如果第一次尝试不成功,往往会对自己非常苛刻。给自己一些时间,不断尝试,终究会学会的。

Last tip, which is as silly as the first one: look around. You find taking the subway boring? Look at people’s bags, shoes or coats. You’re outside, waiting for something? Look at the ground, the walls, and so on. The world, as dull as it may look in our everyday routine, is, in fact, full of ideas.

最后一个提示,和第一个提示一样有些愚蠢:那就是四处看看。你认为坐地铁很无聊吗?看看人们的包包,鞋子或者大衣。你在外面,等待什么吗?看看地面,墙壁,等等。每天世界看起来都那么无聊,实际,这里面充满了各种创意。

Art by Pauline Boiteux

Bird Coat: Breakdown | 鸟纹外套:步骤

Let’s take a look at the Bird Coat texture first. It was funny reopening it for this interview – it’s not that old, but I can see now how much I’ve improved since then.

我们首先看看Bird Coat的纹理。在这次访谈中再次打开它很有意思 – 这个纹理并不老旧,但是我现在能看到自那以后我改进了多少。

For this one, I was lucky enough to have the model in front of me. I own that coat. First of all, as in every pattern I create, I try to decompose the shapes. That way, you can have an overview of what’s going to happen, and it usually gets you to a starting point.

我很幸运面前能有这个模型。首先,和创建任何一个图案一样,我首先解析形状。这样,就会了解接下来的内容,然后就可以开始着手创建。

On that one, obviously, you have the birds. Well, if you ‘cut’ a bird into pieces, you get the head, body, wings and the tail. Starting with basic shapes and a few transformation nodes, these were the pieces I got.

首先我们需要鸟的图案。如果将鸟“切割”成几个部分,就会得到头,身体,翅膀和尾巴。从基本形状和一些变换的节点开始,这些就是我获得的内容。

At first, to get the proportions right, I blended them all together. Once I was happy with the overall shape, I started thinking about how I was going to use it and what pieces needed to be reworked before I could use them as a mask.

首先,为了确定比例,将所有内容混合起来。如果对整个形状满意,我就开始思考如何使用这个形状,哪些部分需要重新制作,然后将他们用作遮罩。

As you can see in this picture of the real coat, the wings and body have a black part and a pink part. Still using basic shapes, I’ve cut out those individual pieces to use them as masks in blending nodes with the colors.

在这个真正的鸟的外衣图片中可以看到,鸟的翅膀和身体一部分是黑色,一部分是粉色。我仍然使用基本形状,我已经切割出的单独部分,用作遮罩将节点与颜色混合。

Now that the bird’s done, I’ve made the clouds with the same idea, of basic shapes blended together. I’ve added that dot pattern around it using a Tile Sampler, so I can use the shape as a mask once again!

现在鸟已经创建完成,利用同样的思路,将这些基本形状混合制作成云。使用Tile Sampler平铺采样在云的周围添加了点图案,所以这个形状可以再次用作遮罩。

Let’s move onto the fabric. Luckily there are already some great solutions inside Substance Designer. To get that fabric pattern, I used the Weave Generator node.

下一步是创建布料。很幸运,Substance Designer已经提供了很好的解决方法。为了获得布料的图案,我使用Weave Generator(织物生成器)节点。

By using a Crystal noise, I added some more volume in the section that is going to be metallic to get random reflections. The rest of it is just adding depth and tiny details with noises.

我使用Crystal晶体噪点在该部分添加了一些金属部分以获取随机反射。其余的内容就是添加深度和一些细微的噪点。

I find that the best approach is to start with the height map and normal map. I do this with every graph I create. Once you have those two, the rest of the material comes together quite quickly, and you can just use the masks you created during the process to complete everything. Here, the mask created for the darkest pink can be used as the metallic and roughness maps.

我认为最好的方法就是先创建高度贴图和法线贴图。我创建每个图表的时候都是这样做。如果有了这两个贴图,剩下的材质就会很快结合起来,你就只需使用在这个过程中创建的遮罩来完成整个内容。为最深粉部分创建的遮罩可以用作金属贴图和粗糙度贴图。

Combine everything together, and that’s it!

将所有内容结合起来,就完成任务了!

Deer Panel: Breakdown | 鹿纹影壁:步骤

For the Deer Panel, it’s pretty much the same idea.

鹿样面板也是遵循几乎相同的理念。

I used a reference picture found on Textures.com for this one. The first step is always cutting individual parts, to see what the individual pieces are, and what shapes can be used multiple times. In this case, a lot of shapes were symmetrical, so if you prepare well, it’s not that much work in the end.

我使用Textures.com网站的图片作为参考。第一步都是切割各个部分,了解各部分内容,哪些形状可以多次使用。这样,发现许多形状都是对称的,所以,如果准备地充分,最后不需要那么多的工作量。

In this case, the corners (green) are all precisely the same as one another; this is also true of the trims (light blue) and left and right borders (orange). The middle parts take a little more time, but here it’s possible to reuse a lot of already created shapes, like the leaves.

这样,角落(绿色)处完全都是一样的,边缘(淡蓝色),左右边(橘色)也是如此。中间部分有些费时,但是这里可以重复多次使用已经创建的形状,例如叶子。

If you want a detailed step-by-step for that one, take a look at the video tutorial I’ve made for it.

如果你希望具体了解每个步骤,可以观看我制作的视频教程。

Future Projects | 未来项目

Today, my primary goal is to find a job in the video game industry, to get experience of not only working for myself, but also to learn how to work around real production constraints. This knowledge will only improve my process, and hopefully my way of teaching material creation and optimization. I know that I’ve only scratched the first layer of what you can do with Designer and I’d love to go deeper! Also, I hope I’ll find the courage to finally learn shading and to improve my lighting techniques.

今天,我主要的目的是在视频游戏领域找到一份工作,获得经验,不仅为己所用,而且学习如何解决实际制作中的限制。这些经验只是为了改进工作流程,同时也希望改善教学材质创建和优化的方式。我知道我只是为大家介绍了Designer一些表面的知识,我愿意继续探讨学习!我也希望自己能有勇气最终学会着色,提高光照方面的技能。

I’d love to travel again too, to get some fresh air and new ideas.

我愿意再次旅游,呼吸新鲜空气,获得新的创意。

Art by Pauline Boiteux

Regarding the next textures I want to create: I’ve actually been working on a Fish Pond 2.0! The original Fish Pond was a texture I created a while ago, and I’ve learned a lot since I did it. I’d love to see how I can improve upon that first one. But, as I said earlier, the funny part is not knowing – I work as I get inspired by the things I see, so… No one knows!

关于我要创建的下一个纹理:我一直在研究Fish Pond 2.0!最初的Fish Pond 是我之前创建的纹理(https://www.artstation.com/artwork/oGmPJ),现在了解了这方面的许多内容。我也希望了解如何完善Fish Pond。但是,我前面讲过,有趣的部分不是了解 – 而是受到所见事物获得的灵感,所以…没有人知道!

Substance Painter is also a great piece of software, and I’d love to get more into it – the Smart Material tools are really excellent, and the combo of Designer and Painter can give you great-looking results. There’s currently a new Artstation challenge on Feudal Japan; maybe that will be an interesting starting point.

Substance Painter也是一款不错的软件,我希望深入学习探索 – 智能材质工具实在是太棒了,Substance Designer 和Substance Painter组合会给你带来抢眼的效果。目前Feudal Japan《封建日本》面临新的Artstation方面的挑战;也许这将是非常有趣的起点。