本文将在您创建科幻内部概念时，详细介绍我的创作过程，例如“复古空间常识”。 用CG创建可信和有趣的作品可能是一个挑战！ 我相信有机会接触别人的过程，看到他们如何应对挑战，是保持积极性，继续推进自己的一个好办法。 我将对此图像进行更高层次的概述，并介绍一些使用的工具和技术。
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.
下一个系列
我最初创造了一个复古科幻生活区的形象，为我提供环境设计的车间。 我在这件事上总共花了3-4个星期。 我没觉得我有时间充分详细了解场景，真正实现了我想要的，所以我决定花更多的时间和创造一个同样的艺术风格的新场景，使用我从第一个学到的东西。
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.
参考！
创建艺术作品时，我无法强调参考的重要性。 当你不完全知道什么是什么样的东西（这可能是99％的时间）的时候，你可以参考一下。 当您不完全确定接下来要做什么时，也可以启发您。
我的参考范围从对象，设备和道具的图片，到电影和游戏的截图。 最近，引用的作用对我来说如此清楚：应该用于回答问题并通知决策。
这里只是一个非常少量的参考，我收集了准备这个场景。
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.
找到裂缝
让我们面对它：从头开始一个大型项目总是很难。 无论是一张空白的纸张，一张空白的Photoshop文档，还是一个空的Maya场景，都可能很难开始。 我经常建议从“找到裂缝”开始。 从一个小任务开始，比如设计一个道具。 这往往会增加一些急需的动力和信心，继续推进。 这是我为我的复古风格图像建立的第一件事：一个马铃薯/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.
封锁
与其他第一步同样重要，创造一个伟大的封锁必须发生在你要与你的作品走得太远的前进之前。 当在3D工作时，我们应该考虑我们的封锁与画家或插画家认为他们的初步草图相同的方式。 它有助于奠定我们的最终作品以及最终形象的外观和感觉的基础。 与草图一样，我们的封锁应尽可能长时间保持尽可能宽松和可延展。 我们可以更快地进行更改，我们可以更好地获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
当为自己创作作品时，我倾向于尽可能快速地，尽可能地尝试模拟事物。 有些人可能会说这个模型是“草率”的，但对我来说，创造一个有趣的作品的关键是更多关于每个单独的资产。 只要模型在最终形象中看起来不错，我很高兴。 能够专注于对最终图像至关重要的是完成复杂图像的关键。
一点一点的道具，我填写所有成品的最终场景。 我总是在纹理，照明和建模之间来回走动。 随着新资产的进入，我调整了现场的各个方面，这样可以确保整体的组合和感觉与我的意图保持一致。
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!
纹理和着色器
这件作品的纹理也很快完成。 我有很多书，杂志，图片等等。 我发现处理这个最快的方式与我将如何做游戏相似：大的纹理表，其中一张纸保持多个纹理。 这加快了我的过程很多！
如上所述，我倾向于非常快速地模拟和纹理，并且有点茫然。 但是，当谈到我的着色器时，我试图放慢速度，真正花费时间来实现我所瞄准的材料的准确性。 我发现如果你可以指定一个着色器的外观，很少需要纹理整体。 着色器全部重起！
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.
灯光
我用V-Ray照明。 这张照片既有挑战又容易照亮。 它基本上亮起了大型荧光灯。 这是一个非常容易的设置来实现与V-Ray，但并不完全给图像最有趣的外观。 最后，我决定保留它，因为我正在为这件作品提供一种“生活中的一天”的感觉，而且我觉得标准照明有助于巩固这一点。
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
在我的过程中，最终的合成和Photoshop通过非常重要。 在Blizzard的哑光绘画团队工作了3年之后，我学会了如何强大的一步！ 我倾向于尝试从Maya的通行证尽可能的清洁，但我知道我将在以后进行大量的颜色校正，照片叠加和调整最终的图像。
在这一步，我添加了很多我的垃圾，纹理和细节。 在Photoshop中做的比在3D中做的要快得多，它使我能够快速颜色校正和调整图层，而无需重复再次渲染。
我也使用这一步添加最终的触摸和颜色分级到整体的图像。 我通常通过Photoshop的“相机原始”功能进行颜色分级。 我还使用Photoshop添加噪音，锐化，渐晕和轻微的风格化色差。
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.
作为CG艺术家，“计算机图形”是我们的媒介。 作为艺术家，我们必须掌握我们的媒介，才能开始创造伟大的艺术。 我们应该永远在学习，练习和创造。
我希望这个快速崩溃的过程有助于您了解别人如何处理问题，也许会激励您继续创建自己的图像和艺术。
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