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https://80.lv/articles/procedural-vegetation-materials-breakdown/

Bogodar Havrylyuk showed how he build his amazing vegetation substances. It’s next level, guys.

Bogodar Havrylyuk展示了他令人惊叹的Substance植被纹理创建过程。

Introduction | 简介

Hey Everyone! My name is Bogodar Havrylyuk and I’m currently working as an Environment Artist at N-iX. I grew up in Ukraine/Lviv, where I’m still living. I first started painting when I was 4, depicting different kinds of nature.

Hello大家好! 我的名字是Bogodar Havrylyuk,我目前在N-iX担任场景美术师。我在乌克兰/利沃夫长大并生活。我从4岁时开始画画,描绘不同的自然场景。

I got interested in computer games when I was 7. The first games that I played were Quake 1, Doom3D and Blood3D. After playing those games I was quite interested in creating games and fantastic worlds where you can use your own imagination.

7岁时我开始对电脑游戏感兴趣。我玩的第一批游戏是Quake 1,Doom3D 和 Blood3D。 玩过这些游戏后,我开始对利用想象力来创建游戏与梦幻世界非常感兴趣。

I think I was quite fortunate to know I wanted to make games from a very young age, so I spent all my time doing games. In 2010 I started learning 3D computer graphics and learned Solidworks and after that I began learning 3ds Max. Then, I started creating game models for Counter Strike. It was quite difficult, but I didn’t give up. I had a great opportunity to feel myself not only as a 3d artist, but as a developer too. Then, I began learning Source SDK tools, and it was really challenging, but at the same time very interesting.

我觉得自己非常幸运,从小就知道自己最想做游戏,所以我使用了几乎所有的时间来创作游戏。2010年,我开始学习3D电脑图形和Solidworks,之后我开始学习3ds Max。然后我开始创建反恐精英CS游戏的模型。这在当时对我来说非常困难,但是还好我没有放弃。我有了很好的机会来体验作为一名开发者,而不仅只是一名3D美术师。在这之后我开始学习Source SDK工具,这很有挑战性,但同时也很有趣。

A few month ago our N-iX Game Development team and I had a great opportunity to work with Silicon Studio that is based in Japan. We were working on Sky-Fi VR project and used the Xenko game engine.

几个月前,我所在的N-iX游戏开发团队有机会与日本的Silicon Studio合作。 我们当时制作的是一个Sky-Fi VR项目,使用Xenko游戏引擎。

I was lucky to work on this project as an Environment Artist and I created a lot of props and some environment stuff.

我很荣幸在这个项目负责场景美术的工作,我创建了很多道具和一些场景物件。

Procedural materials | 程序纹理材质

I started learning procedural textures a few monthы ago. I was inspired by the works of Ben Wilson, Robert Wilinski, Rogelio Olguin, Mark Foreman, Hugo Beyer and Joshua Lynch.

几个月前我开始学习程序纹理贴图。受到Ben Wilson, Robert Wilinski, Rogelio Olguin, Mark Foreman, Hugo Beyer 和 Joshua Lynch作品的很多启发。

(可在 Artstation搜索这些艺术家的Substance程序纹理作品)

This learning process was quite challenging, but every graph was easier, getting more and more interesting. I still spend more than 12 hours creating textures or new plant models. Usually, I start working in Substance Designer every Saturday at 10 am and continue my work till 10 pm without any breaks.

这个学习过程相当具有挑战性,但是之后每个Graph图表都变得越来越容易,并且越来越有趣。我还是花了超过12个小时来创建贴图或植物模型。我通常在每个周六的上午10点开始在Substance Designer中进行制作,然后没有间断持续工作到晚上10点。

For me, the main advantages are flexibility, modularity, and the ability to reuse stuff. Procedural materials can also lead to faster workflow iterations over time (the initial cost of creation is still there, but updates can propagate across assets and variations can be created incredibly fast).

对我来说程序纹理最主要的优点是灵活性,模块化,以及再次利用的能力。 程序纹理材质也可以随着时间的推移加快工作流程(创建的初始成本仍然存在,但更新可以在物件间进行传递,并且可以快速创建变体)。

I still sculpt a fair bit in ZBrush though, mainly for detailed architectural textures or interesting patterns that I need to create by hand. I then finish those textures in Substance Designer by adding surface details and generating material response maps.

有时我仍旧会在ZBrush中做一些必要雕刻,主要是为了一些建筑纹理的细节或有趣的需要手工制作的图案。 然后通过添加表面细节与生成材质贴图,在Substance Designer 中完成这些材质。

Plants | 植物

But today we are going to talk about procedural plants and how to create them using Substance Designer.

今天我们将讨论程序植物纹理,以及如何使用Substance Designer来创建它们。

Dandelions | 蒲公英

For example, let’s take a look at the way I created dandelions in Substance Designer.

例如,我们来看看在Substance Designer中创建蒲公英的方法。

Here are some references:

以下是一些参考资料:

Before I start working on creating basic shapes I always divide my model into singular objects that can be tiled many times.

在创建基本形状之前,我会将模型分成多个之后可以复制平铺的单个物体。

Finally we have a few objects that we have to create:

最终我们需要创建的物体包括:

  • Leaf | 叶子
  • Stalk | 茎
  • Flower | 花
  • Bud | 芽

Creating leaf and stalk | 创建叶子和茎

Sometimes shapes have difficult forms and it’s easier and faster to create alphas or use SVG. In this case I created alpha in Photoshop.

一些比较复杂的形状,创建透贴或使用SVG矢量图更快更容易。在这里我使用Photoshop制作了一个透贴。

Creating central vein | 创建中间的叶脉

I always use simple shapes and modify them using blend, transform, levels and symmetry nodes.

我会先使用简单的形状,之后使用混合Blend,变形Transform,色阶Level和对称Symmetry节点进行调节。

Adding surface bumps and veins with surface details.

用表面的细节来添加表面凸起和叶脉。

Here I added some hair on stalk.

这里,我在茎上加了一些细丝。(大图请查看原文)

Reference image with hair on the stalk.

茎上细丝的参考图片。

Colorizing. Just a couple of gradient and blend nodes.

着色。 仅是几个Gradient和Blend混合节点。

Creating flowers | 创建花朵

First of all, I always create only one shape with little deformations, and only in final (ile/splatter circular) node I apply deform noises to destruct tiling.

首先,我先创建一个具有很小变形的初始形状,只有在最终(ile / splatter circular圆形扩散)节点中,我才使用噪点变形来打破平整。

For creating flower shapes I used Splatter circular node. Then I added some black/white gradation for better blending, after it I used blend nodes with max lighten blend parameter, and every upper layer of blend I made lighter than the previous one for volume and shadows. Before generating normal map, I always use Sharpen node, because it adds details. Even if you use a small texture size, you get a better result.

关于花朵的形状,我使用了Splatter Circular圆形扩散节点。然后我添加了一些黑色/白色的渐变以便进行更好的混合,我使用了Blend混合节点中的Max Lighten提亮混合叠加模式,并且之后添加的每一个层,我都会做的比之前的层再亮一些,用于表现体积和阴影。在生成法线贴图之前,我会再使用锐化节点来增加细节。这样即使是很小的贴图尺寸也可以获得更好的效果。

Creating bud | 创建芽

Just a couple of vertical noises and blends.

仅是几个vertical noises垂直噪点和Blend混合。

Creating the final atlas texture | 创建最终的贴图

Now we have all the atlas elements for creating complete UWV map. So here is a screen of blending materials into one large texture. This way is easier than creating all elements in one graph.

现在我们拥有创建完整UWV贴图的所有元素。这是个将所有贴图混合成整体贴图的截屏。这样比在一个Graph图表中创建所有元素要更轻松明了。

Adding some details into final graph such as water drops, dirt, damages e.t.c.

在最终的图表中继续添加一些细节,如水滴,脏渍,破损等。

Water drops | 水滴

Mixed Plasma node with uniform color (grey 128.128), blend mode – Divide. I always use Histogram Scan for adding details to final texture and exposure them all. You can always change the amount of dirt, roughness or any other parameter.

将Plasma节点和纯灰色(灰 128.128)进行混合– Divide混合模式。 我总是使用Histogram Scan来给最终的材质添加细节并且将参数都激活出去。这样可以随时更改脏渍的范围,粗糙度或其他任何参数。

And adding some damages with exposure nodes.

并且通过激活节点添加一些破损。

So eventually we have a UWV texture with individual elements. The next step is to create basic mesh elements that we will reuse when we will be creating the final Dandelion game asset.

最终我们有了独立的有UWV的贴图。下一步是创建基本的模型,在创建最终的蒲公英游戏物件时,我们将重新利用它们。

I applied final texture with opacity map, and then used Cut for creating individual elements.

我使用带透明通道的贴图,然后通过剪切布线创建单个模型。

Completed mid-poly assets.

完成中模。

 

Weed | 野草

The same way as I told before. We divide (weed) leaf into simple shapes and then combine final elements. I started from Ridged Bell shape and created a single leaf with veins and surface noise.

如上所述,我将(杂草)叶子分成几个简单的形状,然后组合成最终的样子。我从Ridged Bell节点形状开始,创建出一片有静脉和表面有杂点的叶子。

Then I made a weed leaf using a leaf from the previous screen.

然后我使用这个叶子做了一个杂草。

Creating buddies.

创建多丛。

Colorizing final texture with exposure parameters.

使用激活的参数赋予最终纹理的颜色。

Clovers | 三叶草

I was inspired by Quixel Megascans, so I decided to create it in Substance Designer.

我从Quixel Megascans获得启发, 我决定在Substance Designer中创建它。

First of all, I created a single leaf as in previous examples, then I created the final clover triple-leaf.

首先,我像之前的范例一样创建了单片叶子,接着再拼成三叶草。

And here I made a couple of clovers, but I wrapped them to add some variation.

在这里我做了几片三叶草,但是添加了一些变化。

Creating albedo map.

创建色彩贴图。

I set up a clover as two triangles (one for clover, second for stalk) for better optimization. Eventually, we have one large group of clovers containing just 120 triangles.

最后,我将三叶草模型设置为两个三角形(一个为三叶草,另一个为叶茎),以便获得更好的优化。 最终,我们有一大片三叶草但只使用了120个三角形。

Bogodar Havrylyuk, 3D Environment artist at N-iX