牧游社 牧有漢化翻譯

Stellaris Dev Diary #230 - The Art of Aquatics Ships & the Drake

Published by MrFreake_PDX, Colonel

Written by Pavel Golovii and David Str?mblad Lindh

Hello! My name is Pavel Golovii, I am a concept artist from the art team that has worked on the Stellaris Aquatics Species Pack. I am going to highlight the process of developing ship designs from a concept artist perspective. I will talk about the initial ideation process, inspiration, visual language and defining the look of individual ship classes.

大家吼?。∥沂?strong>Pavel Golovii, 是負(fù)責(zé)開發(fā)Stellaris水生生物物種包的美工團(tuán)隊(duì)中的一名概念美工。下面我將從概念美工的角度來帶大家領(lǐng)略設(shè)計(jì)艦船的過程。我會(huì)談及有關(guān)初期構(gòu)思過程、靈感、視覺語言和最終決定各級(jí)艦船的外觀這幾方面。

Brief

簡(jiǎn)述

The work of a concept artist is to suggest a clear visual interpretation of game aspects often based on initially vague ideas and definitions. At this very first stage our goal was to probe for the style for the aquatic ships, invent a sort of a visual language that we then could use to create the entire aquatic ship set that would also fit the existing Stellaris universe. Our art director, Simon Gunnarson, articulated main pivot points for the concept art team. The ships' style had to convey the aquatic and sentient origin of the species that built them and yet artists should avoid too literal interpretations (e.g. converting sea animals into a spaceship). While striving toward non-traditional organic forms we also had to clearly show they are artificially created. These statements served us as navigation beacons leaving a very broad fairway for our art experiments.

概念美工的職責(zé)是，基于初期很可能模糊的想法和定義，將它在游戲內(nèi)清晰地表達(dá)出來。在最開始的階段，我們的目標(biāo)是探索水生生物艦船的風(fēng)格，創(chuàng)造一種之后要套用在整個(gè)水生生物艦船系列中的視覺語言，而且要與既有的Stellaris視覺風(fēng)格相匹配。我們的美術(shù)總監(jiān)Simon Gunnarson明確了概念美工團(tuán)隊(duì)的主要基準(zhǔn)點(diǎn)：艦船風(fēng)格應(yīng)當(dāng)突出建造它們的種族是一種水生的智慧生命，而且應(yīng)當(dāng)避免過于刻板的闡釋（比如把海洋生物改成太空船），在努力地展現(xiàn)非傳統(tǒng)的有機(jī)形式的同時(shí)，還要讓人一眼就看出這些東西是人造的。這些要求成為了我們的指路明燈，為我們的藝術(shù)探索留下了十分廣闊的航路。

Inspiration

靈感

Starting a new concept work can be both exciting and intimidating. As a first step I try to get more information on the topic as it helps to feel myself on solid ground and start off. I had some starting advantage because long before participating in the project the underwater world theme was already part of my interests and passion. Being a seasoned diver and amateur underwater photographer gave me a lot of personal emotional experience and fueled my work. A lot of inspiration I gained from modern architects like Zaha Hadid and Santiago Calatrava. Their works are a great example of organic form interpreted as constructive elements. And of course nature itself is an inexhaustible source of ideas.

展開一門全新的概念設(shè)計(jì)工作是令人興奮同時(shí)又令人畏懼的。作為第一步，我努力搜集有關(guān)這個(gè)主題的信息，這能幫助我打下堅(jiān)實(shí)的基礎(chǔ)并開始設(shè)計(jì)工作。我具有一些起步優(yōu)勢(shì)，因?yàn)槲液茉缇蛥⑴c到水下世界主題的項(xiàng)目中來，這已經(jīng)成為了我的興趣和所熱衷的一部分。作為一個(gè)老練的潛水員和業(yè)余水下攝影師，這種經(jīng)歷又賦予我許多個(gè)人情感體驗(yàn)，并讓我將其運(yùn)用到了工作上。同時(shí)我也從諸如扎哈·哈迪德Zaha Hadid和圣地亞哥·卡拉特拉瓦Santiago Calatrava這樣的現(xiàn)代主義建筑師身上汲取了許多靈感。他們的作品給出了將有機(jī)形式闡釋為建筑元素的絕佳例子。當(dāng)然，大自然本身也是想法的不竭源泉。

Radiolaria drawings by Ernst Haeckel(left) became an inspiration for many ships’ elements, including the titan's bow gun. Modern architecture and design gives great examples of organic form interpretation(right).
Ernst Haeckel繪制的放射蟲（左）成為了很多艦船元素的靈感，包括泰坦的軸基主炮?，F(xiàn)代主義建筑和設(shè)計(jì)給出了很好的有機(jī)形式表現(xiàn)的例子（右）。

Finding style

尋找風(fēng)格

Starting from big design entities I try to find what proportions, shapes and patterns would distinguish the ships of aquatic species. Will they be thin and streamlined or bulky and rounded? What associations does that particular form bring up to the viewer? We already have Molluscoid species in the game and they are somewhat related to the aquatic theme. So it was critical that new designs are read as different and do not utilize the same shape language.

從大的設(shè)計(jì)形體開始，我需要明白水生族艦船的比例、形狀和樣式會(huì)有什么與眾不同的特點(diǎn)。它們會(huì)是纖細(xì)而流線型的？抑或是笨重而圓滾滾的？這個(gè)特定的形式能給觀者帶來怎樣的聯(lián)想？游戲里已經(jīng)有類軟體種族，而他們與水生生物主題也稍微有點(diǎn)聯(lián)系。那么新設(shè)計(jì)要看起來與之不同而且不使用同一套設(shè)計(jì)語言就變得至關(guān)重要。

Early ship style exploration sketches by Pavel Golovii.
Pavel Golovii繪制的早期艦船風(fēng)格探索草稿。

Style exploration sketches by Mattias Larsson.
Mattias Larsson繪制的風(fēng)格探索草稿。

Once there is an understanding that large shapes and proportions are settled and work well for the theme, smaller elements need to be explored next. This is like enriching the visual vocabulary that will later be used to 'write the whole story' - designs of all the ship classes. Many details like windows, engines, and greebles are going to be shared across ship classes. This helps to propagate style and contributes to better scale perception. A detail that is perceived as a viewport should be approximately of the same size both on a battleship and a corvette. Thus another important step is to test how these elements work for different ship sizes.

一旦大的形狀和比例敲定而且被認(rèn)為與主題貼切之后，下一步就是探索更細(xì)小的元素了。這就像是要充實(shí)視覺“詞匯”，并用這些元素來 “書寫整個(gè)故事”——設(shè)計(jì)各級(jí)艦船。諸如觀察窗、引擎和突出管線之類的許多細(xì)節(jié)也會(huì)由各級(jí)艦船共享。這有助于風(fēng)格的展現(xiàn)，也能幫助更好地把握尺寸。觀察窗在護(hù)衛(wèi)艦和戰(zhàn)列艦上的尺寸應(yīng)該差不多大，這就是一處細(xì)節(jié)。因此，另一個(gè)重要的步驟就是測(cè)試這些元素在不同大小的艦船上要如何設(shè)計(jì)。

This sketch sheet by Pavel Golovii shows exploration of various elements like viewports and also an attempt to get the feeling of scale for small, medium and large ships.
Pavel Golovii的這張草稿展示了諸如觀察窗之類的多種元素的探索，并且試著把握小型、中型和大型艦船尺寸的感覺。

Material and color exploration sketches by Pavel Golovii.
Pavel Golovii繪制的材質(zhì)和顏色的探索草稿。

And last but not least comes color and material explorations. At this stage I try to figure out the set of materials that is going to be used for the ships. What the primary and secondary plating may look like? How large is the area a specific material is going to cover? What texture is going to be used for that plating and how it looks when adjacent to another material? These kinds of questions I need to give an answer to in my sketches. Here concept artists work in close collaboration with 3D artists. As the look of the materials is quite dependent on the game engine it is good to test the possibilities and limitations both from artistic and technical points.

最后來康康關(guān)于顏色和材質(zhì)的探索。在這一環(huán)節(jié)，我要設(shè)法找出艦船要用的一系列材質(zhì)。主要和次要鍍層看起來會(huì)是什么樣子？每種材質(zhì)要覆蓋多大的面積？鍍層要用什么紋理？?jī)煞N材質(zhì)交界的過渡要怎么做？我需要在我的繪圖草稿中給出這一系列問題的答案。此時(shí)概念美工將與3D美工緊密合作。由于材質(zhì)的觀感非常仰賴游戲引擎的發(fā)揮，所以最好從美術(shù)與技術(shù)兩個(gè)角度測(cè)試一下可能性和局限性。

Material explorations done by 3D artists Anton Hultdin(left) and Tim Wiberg(right).
3D美工Anton Hultdin（左）和Tim Wiberg（右）關(guān)于材質(zhì)的探索。

All the artistic findings during the style development stage are finally wrapped up by the art director into a style guide that becomes primary but not the only reference for the next step.

在風(fēng)格開發(fā)階段的所有藝術(shù)類調(diào)查結(jié)果，都被美術(shù)總監(jiān)匯總進(jìn)了一篇風(fēng)格指南，它成為了下一步首要的但不是唯一的參考。

Designs of ships classes

各級(jí)艦船設(shè)計(jì)

Once the visual language is defined it is time to 'write the story' using that language - build design for each ship class. This is where each class should get its unique look within a given style and where more rules and restrictions apply. Ships consist of several interchangeable modules and each module has its own set of gun mounts. Modules should have seamless joints to each other and gun mounts have their specific fixed size - all that needs to be taken into account now.

視覺語言一旦敲定，接下來就是用這門語言“寫故事”的時(shí)間了——為每級(jí)艦船構(gòu)建具體設(shè)計(jì)。正是從這一步開始，我們對(duì)每級(jí)艦船根據(jù)設(shè)定好的風(fēng)格設(shè)計(jì)獨(dú)特的外觀，同時(shí)也加上了更多的規(guī)則和限制。艦船由數(shù)個(gè)可更換的船體模塊構(gòu)成，而每種船體模塊都有各自的武器配置。船體模塊之間無縫連接，并且各種武器都有特殊的固定尺寸——現(xiàn)在這些要素都要考慮在內(nèi)。

Cruiser concept by Pavel Golovii. This is a work in progress showing all module designs. Orange lines represent seams between modules. The corvette drawings(left) are there to keep control over scale perception.
Pavel Golovii 設(shè)計(jì)的巡洋艦概念圖。這張開發(fā)中的圖展示了所有的船體模塊設(shè)計(jì)。橙色的線代表船體模塊之間的接縫。護(hù)衛(wèi)艦（左側(cè)）作為尺寸大小的參照物。

As each ship class has its unique characteristics, it is important to show that in their appearance. Agile corvette differs from heavy titan not only by size, but also proportions, silhouette and unique details. Proportions and silhouettes are something that a viewer reads first, especially when a ship is observed from a distance, which is a common case for Stellaris. So it is important to put distinction at this level. Some elements may help to further differentiate a ship from other classes and tell more about its purpose.

由于每一級(jí)艦船都有其獨(dú)特的特征，在外觀上表現(xiàn)這些特征就變得很重要。迅捷的護(hù)衛(wèi)艦不僅在尺寸上與重型泰坦不同，還在比例、剪影和特有細(xì)節(jié)等各方面存在不同。從觀察者的角度來說，比例與剪影是最先被注視到的東西，尤其是從遠(yuǎn)處觀察艦船的時(shí)候，而遠(yuǎn)觀的場(chǎng)景在游玩過程中是經(jīng)常出現(xiàn)的。所以在這一層次上凸顯出不同就十分重要。某些元素可能會(huì)進(jìn)一步幫助區(qū)分這一級(jí)艦船，并且更好地展示出設(shè)計(jì)用途。

Rotating circular element initially designed by Mattias Larsson for the science ship(center) became a distinguishing feature of other science related structures like the research station(left, by Pavel Golovii) and starbase's science module(right, by Anna Windseth).
最初由Mattias Larsson為科研船（中間）設(shè)計(jì)的旋轉(zhuǎn)圓形元素，成為其他科學(xué)相關(guān)的構(gòu)筑物的一個(gè)顯著特征，如研究站（左，由Pavel Golovii設(shè)計(jì)）和恒星基地的科學(xué)模塊（右，由Anna Windseth設(shè)計(jì)）。

Given the theme, in the design of many elements marine life motifs were used. The hard part of the job is to do that in a subtle, balanced way that would bring a viewer a certain association but would not feel too on the nose. It is good to make a titan ship reminiscent of a big whale shark, but it should not look like a shark and it must keep the sense that ship was manufactured rather than has organic origin. Ideally a viewer should read that on some subconscious level, without explicitly naming the association.

考慮到這個(gè)擴(kuò)展包的主題，我們?cè)谠S多元素的設(shè)計(jì)中都使用了海洋生物的圖案。工作的難點(diǎn)在于，如何以一種微妙的、平衡的方式加入這些海洋生物圖案，給觀眾帶來某種聯(lián)想，但又不至于讓人覺得太過扎眼。讓人聯(lián)想到大鯊魚的泰坦是很好的，但它不應(yīng)該看起來像鯊魚，而且必須要有艦船是人造的感覺，而不是有機(jī)物來源的感覺。理想情況下，觀者應(yīng)該在某種潛意識(shí)層面上讀到這一點(diǎn)，而不需要明確地說明這種聯(lián)想。

Initial sketches of the titan ship class used whale shark and manta ray motifs. In the process the titan got a different look for the front gun but the 'manta' motif was used for the construction ship design(the leftmost image). Sketches by Pavel Golovii.
最初的泰坦繪圖使用了鯨鯊和蝠鲼的圖案。在設(shè)計(jì)過程中泰坦有了一個(gè)與眾不同的主炮前置的外觀，但“蝠鲼”的圖案被用到了工程船設(shè)計(jì)的身上（最左側(cè)）。由Pavel Golovii繪制。

Work of a concept artist is not only about how things may look, but quite often it is also to answer 'how it may work'. The aquatic colossus class design is quite ambitious with tentacles as its most prominent feature. A lot of effort has been put into figuring out the mechanics of the tentacles, how they bend and draw out. To prove the mechanics a 3D model was created and animated. Also colossus is supposed to have quite intricate special effects so sketches of them were included in the concept sheet to serve as a starting reference for our VFX artist.

概念美工的工作并不只限于解釋設(shè)計(jì)對(duì)象看起來怎么樣，同時(shí)也經(jīng)常需要解釋“它是怎么運(yùn)轉(zhuǎn)的”。水生生物的巨像設(shè)計(jì)野心勃勃，巨大的觸手是它最顯著的特征。圓盤上這些觸手的運(yùn)轉(zhuǎn)機(jī)制可費(fèi)了一番功夫，比如它們要怎么彎曲和伸長(zhǎng)。為了展示這一套機(jī)制，我們制作了一個(gè)3D的模型并配上了動(dòng)畫。同時(shí)請(qǐng)注意，巨像應(yīng)該配上非常復(fù)雜的特效，所以我們把它們的草稿圖也放在概念頁(yè)里，作為給視覺特效美工的初始指引。

The colossus class ship designed by Mattias Larsson. The concept sheet contains sketches of VFX and a detailed breakdown of the tentacle construction(lower right corner).
由Mattias Larsson設(shè)計(jì)的巨像級(jí)艦船。該概念設(shè)計(jì)表包含視覺特效的草圖和觸手結(jié)構(gòu)的詳細(xì)分解視圖（右下角）。

Proof of tentacle mechanics in 3D software. Done by Mattias Larsson together with Hanna Johansson.

三維軟件中的觸手機(jī)械結(jié)構(gòu)。由Mattias Larsson和Hanna Johansson共同完成。

Not only ships

不只有艦船

Arguably, ships are key actors of the Stellaris game, sharing that title with characters. But the inhabited part of the game's universe is full of static man-made objects - space stations, that also play an important role. Design-wise they can be regarded as ship's direct descendants as they inherit a lot from their look and share the same style. Yet development of stations has its peculiarities. These are static objects orbiting a planet or a star and that must be reflected in their proportions and shape that tends to be more weighted toward its center and is not pointed to any direction. Also, some of the station types have a layout that changes and gets more complicated by the addition of modules with various functionality.

可以說，艦船是Stellaris游戲的關(guān)鍵成員，與人物系統(tǒng)齊名。但是，游戲宇宙中的可居住部分充滿了靜態(tài)的人造物體——空間站，它們也發(fā)揮著重要作用。從設(shè)計(jì)上來說，它們可以被視為艦船的直系后代，因?yàn)樗鼈兝^承了很多艦船的外觀，并具有相同的風(fēng)格。然而，空間站的發(fā)展有其特殊性。這些是圍繞行星或恒星運(yùn)行的靜態(tài)物體，這必須反映在它們的比例和形狀上，即傾向于向中心傾斜，不指向任何方向。此外，一些類型的空間站的布局可能會(huì)發(fā)生變化，并隨著具有各種功能的模塊的增加而變得更加復(fù)雜。

Star base design made by Anna Windseth. These drawings show the station's structure and how it evolves from an outpost to a formidable citadel. Radial symmetry helps to underline the static nature of this object.
由Anna Windseth制作的恒星基地設(shè)計(jì)。這些圖紙顯示了該空間站的結(jié)構(gòu)，以及它如何從一個(gè)前哨站演變?yōu)橐粋€(gè)強(qiáng)大的堡壘。徑向?qū)ΨQ性有助于向觀者強(qiáng)調(diào)這個(gè)物體的靜態(tài)性質(zhì)。

Mining station concept by Pavel Golovii. The silhouette of this station is supposed to bring association with a factory and hint on its industrial appliance.
Pavel Golovii設(shè)計(jì)的采礦站概念設(shè)計(jì)。這個(gè)采礦站的輪廓應(yīng)該讓人聯(lián)想到一個(gè)工廠，并暗示其工業(yè)設(shè)備的屬性。

Is there life after the concept is done?

概念設(shè)計(jì)好，它們就“活了”嗎？

Once the concept is done and approved by the art director it is then passed on to 3D artists for modelling, texturing and material setup. This could be an artist in an outsourcing company. In that case a concept artist can not communicate directly with a 3D artist and the concept sheet should be as detailed as possible to minimize the chance of misinterpretation and extra feedback. It is a bit different when the ship is planned for production inside Paradox studio. That gives a concept artist a chance to collaborate with a 3D artist directly by providing instant feedback and additional information that he may be asked for. That also means a concept artist can be more loose in rendering and detailing his artwork.

一旦概念完成并得到藝術(shù)總監(jiān)的批準(zhǔn)，它就會(huì)被發(fā)給3D美工進(jìn)行建模、貼圖和材質(zhì)設(shè)置。這可能是一個(gè)外包公司的美工。在這種情況下，概念美工不能直接與3D美工溝通，所以概念表應(yīng)盡可能詳細(xì)，以減少誤解和需要額外反饋的機(jī)會(huì)。當(dāng)艦船被安排在Paradox工作室內(nèi)部完成時(shí)，情況就有點(diǎn)不同了。這使概念美工有機(jī)會(huì)與3D美工直接合作，提供即時(shí)反饋和可能被要求提供的額外信息。這也意味著概念美工可以在渲染和細(xì)化他的作品時(shí)更加寬松。

Additional top-down drawing and paintover of the stern area requested from a concept artist for the titan ship. The model is made by Abraham Gomez.
從泰坦級(jí)艦船的概念美工那里請(qǐng)求的船尾區(qū)域額外自上而下的繪圖和上色。該模型由Abraham Gomez制作。

There is a lot more that can be covered about the ship design process but this goes beyond the format of the diary article. I hope the reading was of some interest and most importantly I hope you will enjoy the ship designs in the upcoming Aquatic species pack! Below are some more concepts for you to help pass the time until the pack is released.

關(guān)于艦船的設(shè)計(jì)過程，還有很多內(nèi)容可以介紹，但這已經(jīng)超出了日志文章的范疇。我希望這些閱讀能引起你的興趣，最重要的是我希望你能喜歡即將到來的水生生物物種包中的艦船設(shè)計(jì)！下面是一些直到該物種包被發(fā)布前幫助你打發(fā)時(shí)間更多的概念設(shè)計(jì)。

Battleship concept by Pavel Golovii.
Pavel Golovii設(shè)計(jì)的戰(zhàn)列艦概念設(shè)計(jì)。

Juggernaut concept by Mattias Larsson.
Mattias Larsson設(shè)計(jì)的主宰級(jí)艦船概念設(shè)計(jì)。

Cruiser concept by Pavel Golovii.
Pavel Golovii設(shè)計(jì)的巡洋艦概念設(shè)計(jì)。

Modelling the Aquatic Dragon

水之巨龍的建模

My name is David Str?mblad Lindh and recently joined the 3D art team for Stellaris after completing my internship at Paradox Development Studio.

我叫David Str?mblad Lindh，在完成Paradox Development Studio的實(shí)習(xí)后，最近加入了Stellaris的3D美工團(tuán)隊(duì)。

My task was initially to re-skin the texture set for our already existing dragon. Instead our art producer came up with the brilliant idea to create a small team to work with the dragon, a kind of strike force, consisting of multiple disciplines within art and game design. Putting people with different skills together to work closely in an early stage, created closer communication and reduced the gap between the roles.

我的任務(wù)最初是為我們已經(jīng)做好的龍重新制作紋理集。但結(jié)果卻沒有按本來的計(jì)劃來，我們的美工制作人想出了一個(gè)絕妙的主意，我們創(chuàng)建了一個(gè)小團(tuán)隊(duì)來處理龍的工作，這像是一個(gè)特種小組，由藝術(shù)和游戲設(shè)計(jì)的多個(gè)部門的人組成。把具有不同技能的人放在一起，在早期階段緊密合作，創(chuàng)造了更緊密的溝通，縮減了不同分工人員之間的鴻溝。

My work started parallel with the concept artist being a part of a mini pre production. Pushing what we think our engine can handle, testing out ideas in game to see what limitations we have with the shading and lightning. Then roughly block out ideas in 3D with the mindset that anything can be scraped to avoid spending any significant time on any part. What works on a flat 2D concept might not work in full 3D.

我的工作一開始是與概念美工平行的，是前期預(yù)制作的一部分。我們嘗試我們的引擎可以處理得了的東西，在游戲中測(cè)試想法，看看我們?cè)陉幱昂凸庑Х矫嬗惺裁聪拗?。然后，以任何東西都可以被刪掉重來的覺悟在3D方面粗略地將想法整合起來，去掉一些想法，以避免在某些部分花費(fèi)太大量的時(shí)間。在平面2D概念上可行的東西全都放到3D中可能會(huì)不可行。

To come up with an idea of how the dragon should look like we started with what we already know from the Aquatic artstyle and combining it with the lore of the dragon. We wanted to create a godlike dragon that comes from another galaxy. It has to be a central part of the system it lives in.

為了想出一條龍的樣子，我們從我們已經(jīng)知道的水生生物藝術(shù)風(fēng)格開始，并將其與龍的傳說相結(jié)合。我們想創(chuàng)造一個(gè)來自另一個(gè)星系的神一樣的龍。它必須是它所處星系的核心部分。

When the concept is approved it's safe to spend more time on finalizing the silhouette and continue with adding details. Starting with a blank canvas can sometimes be daunting and 3D sculpting is no exception when trying to add age and weathering to a baby smooth model. To overcome this I roamed around old substance designer files from previous projects looking for heightmaps I could use to project onto the surface of the dragon's shielding. It doesn't have to be perfect but it’s something to continue sculpting more details onto.

當(dāng)概念被批準(zhǔn)后，我們終于可以放心地花更多的時(shí)間來確定輪廓并繼續(xù)添加細(xì)節(jié)。從一張空白的畫布開始創(chuàng)作有時(shí)會(huì)讓人打退堂鼓，3D雕刻也不例外，我們要試圖為一個(gè)光滑如嬰兒的模型添加做舊和風(fēng)化。為了克服這個(gè)問題，我在以前項(xiàng)目的舊文件中翻找，尋找我可以用來投射到龍的保護(hù)罩表面的高度圖。它不一定是完美的，但它可以是繼續(xù)雕刻更多細(xì)節(jié)的底板。

(1) Highpoly sculpt with topology ready for more details. (2) Sculpt with medium sized details added. (3) Lowpoly model with baked information from highpoly with added details. (4) Final textured model with placeholder for VFX.

(1) 帶有拓?fù)浣Y(jié)構(gòu)的高精度模型雕刻，為添加更多細(xì)節(jié)做好了準(zhǔn)備。(2) 添加了中等大小的細(xì)節(jié)的雕塑。(3) 低精度模型，從高精度模型中烘焙出信息，并添加了細(xì)節(jié)。(4) 最終的紋理模型，為視覺特效做占位替代。

It's important to get a feeling for how the final product will look and that's why it's important to get a model into the game as soon as possible. Even if it's only a first draft of a lowpoly model with badly baked textures you will get a feeling of how the lightning in the game will affect the model. From that point it's easy to iterate on the model continuously exporting and reviewing the changes in the game. That way you avoid spending a lot of time on a model and then in the end realize the model doesn't work.

對(duì)最終產(chǎn)品的外觀有一個(gè)感覺是很重要的，這就是為什么要盡快把模型放到游戲中。即使它只是一個(gè)低精度模型的初稿，紋理烘焙得很差，你也能感覺到游戲中的光效會(huì)如何影響模型。這樣一來，就很容易對(duì)模型進(jìn)行迭代，不斷地輸出和檢查游戲中的變化。這樣你就可以避免在一個(gè)模型上花費(fèi)了大量的時(shí)間，結(jié)果在最后發(fā)現(xiàn)這個(gè)模型不行。

When working from home it's more important than ever to break your own vacuum and communicate with the rest of the team. The same way I worked close to the concept artist I want to continue working close to the VFX artist and animator that will continue the work after me. So I don't create something that will make their job harder but instead prepare the model to make their job easier.

當(dāng)居家辦公時(shí)，打破自己一人工作的放空狀態(tài)并與團(tuán)隊(duì)的其他成員溝通，這比以往任何時(shí)候都重要。就像我與概念美工密切合作一樣，我希望繼續(xù)與在我之后繼續(xù)工作的視覺特效美工和動(dòng)畫師能密切合作。因此，我不會(huì)創(chuàng)造一些會(huì)使他們的工作更難的東西，而是準(zhǔn)備好模型，使他們的工作更容易。

This kind of work is what makes working as a 3D artist on Stellaris interesting. I'm not only producing ship after ship but is also being challenged with tasks outside my comfort zone.

這種工作是使在Stellaris項(xiàng)目作為一個(gè)3D美工工作的有趣之處。我不僅在制作一艘又一艘的飛船，而且還在接受我的舒適區(qū)之外的挑戰(zhàn)。

See you all next week, when we will talk some more about the art process for the aquatic portraits.

下周見，屆時(shí)我們將進(jìn)一步討論水生生物肖像的美工制作過程。

翻譯：Frost 摸魚怪

校對(duì)：一水戰(zhàn)阿部熊 三等文官猹中堂

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