unity死者之书_死者之书：概念艺术

unity死者之书

In this blog series, we will go over every aspect of the creation of our demo “Book of the Dead”. After we introduced the Unity Demo team last week, it’s now time for Georgi Simeonov to share his work on the concept art in the teaser we’ve revealed. “Book of the Dead” is a living project with a longer story which we haven’t yet told, so we’ll try not to spoil too much…

在这个博客系列中，我们将介绍演示“ 死者之书 ”的创建过程的各个方面。在上周介绍了Unity Demo团队之后，现在是时候让Georgi Simeonov在我们所揭示的预告片中分享他在概念艺术方面的工作。 “死者之书”是一个具有较长故事的生动项目，我们尚未透露，因此我们将尽量避免破坏太多……

“树人”：小人之一 (The “Tree Person”: one of the Screwies)

We call these characters “the Screwies”, people stuck between two worlds.

我们称这些角色为“螺丝刀”，人们被困在两个世界之间。

Screwies – Initial Explorations

螺丝钉–初步探索

发散的探索，资源，思路 (Divergent Exploration, Sources, Idea Threads)

These characters had to to be recognizably human while bearing visible signs of disintegration. The challenge was to do that while avoiding horror and decay, while at the same time as avoiding them from to looking too ethereal (making them ghosts) or magical.

这些角色必须是可识别的人类角色，并带有明显的崩解迹象。面临的挑战是在避免恐怖和腐朽的同时做到这一点，同时又要避免它们看起来过于空灵(使它们成为幽灵)或魔术。

Dead Matter to Semblance of Life

生命的外表至关重要
- Early designs used the bark strips which proved quite a convenient material to augment the human form and shift the silhouette to something else.
  
  早期的设计使用树皮条，事实证明，树皮条是一种非常方便的材料，可以用来增强人的形态并将轮廓转移到其他物体上。
  
  A lot of those design ended resembling various animals, but also moving too close to feeling like fantasy/horror beast.
  
  这些设计中的许多最终都类似于各种动物，但也过于接近幻想/恐怖野兽的感觉。
Dead Matter to Semblance of Life

生命的外表至关重要
Mud, Sticks, and Stones

泥，棍棒和石头
- I continued to iterate on the connection to the forests, and the Screwies attempts to rebuild themselves with what’s around – sticks, strips of bark, mud, resin. I then briefly went through the idea of them starting to resemble various memory shapes, maybe associated with fading memories.
  我继续迭代与森林的联系，而斯威利家族则尝试用周围的东西重建自己–树枝，树皮，泥浆，树脂。然后，我简要介绍了它们开始类似于各种记忆形状(可能与衰落的记忆相关联)的想法。
- In a lot of the cases where elements were added or otherwise augmented the base human figure, the designs quickly started to resemble something tribal and reminiscent of a fictional primitive culture.
  在很多情况下，添加或以其他方式增加基本人类形象的元素，设计很快就开始类似于部落的东西，让人联想到虚构的原始文化。
Mud, Sticks, and Stones

泥，棍棒和石头
Subtractive / Shattered – Pale remains of what they once were

减法/破碎-苍白的曾经的遗迹
- They had to be less, a figment of what was once human or a soul, a frame barely standing. I experimented with various ways in which to subtract from or erode the silhouette.
  他们必须少一些，曾经是人类或灵魂的虚构人物，几乎没有站立的框架。我尝试了各种方法来减去或侵蚀轮廓。
Subtractive / Shattered – Pale remains of what they once were

减法/破碎-苍白的曾经的遗迹
Misremembered Shells

贝壳记错了
- Natural, yet semi-abstract and sculptural, unreplenishable amber core.
  自然而又半抽象的雕塑性琥珀色芯。
Misremembered Shells

贝壳记错了

Screwies – Colour/Material study

螺丝钉–颜色/材料研究

A quick color study of the first Screwie variant that hit on some of the key points I aimed to cover with the design, experimenting with pale ahs, charred wood and a variation of waxy and clearer resin.

我对第一个Screwie变体进行了快速的色彩研究，发现了我打算涵盖在设计中的一些关键点，尝试使用苍白的ah，烧焦的木材以及蜡质和清澈的树脂品种。

Screwies – Discarded directions

螺丝钉–丢弃的指示

Three variants for the Screwies that were quite cool in and of themselves, but weren’t right for the story so were discarded:

《 Screwies》的三种变体本身很酷，但不适合这个故事，因此被舍弃了：

A – This variant quickly devolved into some dark demonic minions and was abandoned.

A –这个变种很快演变成一些黑暗的恶魔小兵，被放弃了。
B – The stacked stone and woven grass Screwies reminded some fairytale creatures like trolls and elves too much.

B –堆积如山的石头和草编织的斯威基斯使人想起了一些童话般的生物，例如巨魔和精灵。
C – The candle people which our final design evolved from in many ways.

C –我们最终设计从许多方面演变而来的蜡烛人。

Screwies – Finding the final design

螺丝钉–找到最终设计

收敛 (Convergence)

The idea that stuck was the one about the interplay between the outside shell and the emptiness inside. Most silhouette alterations were made by juxtaposing the areas of darker tree bark material and fresh golden resin they used to fill their empty shells.

卡住的想法是关于外壳与内部空洞之间相互作用的想法。大多数轮廓更改是通过将深色树皮材料和用来填充空壳的新鲜金色树脂的区域并置来进行的。

Screwies – Surface Textures, Detail and Erosion References

螺丝钉–表面纹理，详细信息和腐蚀参考

Being quite restricted in expressing design through silhouette meant that I had to rely on textures and interesting erosion patterns. We went for a mix of charred tree bark for the base and the shell with a filling of resin with marks reminiscent of the grooves left by fingers on soft clay.

通过轮廓表达设计受到很大限制，这意味着我不得不依靠纹理和有趣的侵蚀图案。我们在底部和外壳上混合了烧焦的树皮，并用树脂填充，其痕迹让人联想到手指在软粘土上留下的凹槽。

Screwies – Variants

螺丝钉–变体

Screwies – 1st encounter final design

Screwies –第一次遇到最终设计

The final design for the first Screwie the viewer or player encounters – incorporating a mixture of the most successful erosion patterns.

观看者或播放器遇到的第一个Screwie的最终设计–结合了最成功的腐蚀图案。

Screwie encounter location thumbnails

遇到螺丝钉的位置缩略图

Some early thumbnail ideas for the location where the protagonist (and the player) sees a Screwie for the first time,

有关主角(和玩家)首次看到“螺丝钉”的位置的一些早期缩略图提示，

KAREN /主角 (KAREN / Protagonist)

Protagonist / Karen – Medical / Decorative Bracelet

主角/卡伦–医用/装饰手链

The bracelet is the only bit of visual design for Karen’s character that is seen in the teaser. The dialog, supplemented by the bracelet, is the primary way you discover some of her personality and backstory. The design is based on some elements common for medical bracelets but reinterpreted and hidden into what would be perceived as a purely decorative design.

手镯是预告片中Karen角色的唯一视觉设计。对话，再加上手镯，是发现她的某些性格和背景故事的主要方式。该设计基于医疗手链的一些常见元素，但被重新解释并隐藏在纯装饰设计中。

大雕像：“主教” (The large statue: “The Bishop”)

The teaser shows only a short glimpse of the Bishop, but he’s an important character for this world and plays a role in the evolving story.

该预告片只显示了主教的一小部分，但他是这个世界的重要人物，并且在不断发展的故事中扮演角色。

Bishop – Initial Explorations

主教–初步探索

I managed to hit on something quite striking early on with his design and went through much fewer cycles of exploration. The sarcophagus/boat is inspired by both Charon, from Greek mythology, and ancient Egyptian sarcophagi. Charon, being the chaperone who helps souls cross the river Styx, and the Egyptian sarcophagi, bringing an evocative element of demi-gods and vessels for travel. We explored various poses and angles in which you can encounter him, sometimes a massive aerostat-like object floating in space sometimes as an unusual part of the landscape.

我设法在他的设计初期就做出了一些惊人的发现，并经历了更少的探索周期。石棺/船的灵感来自希腊神话中的Charon和古埃及的石棺。 Charon是帮助灵魂穿越斯Tyk斯河和埃及石棺的陪伴者，带来了令人神往的半神人和船只旅行元素。我们探索了可以遇到他的各种姿势和角度，有时是漂浮在太空中的类似浮空器的巨大物体，有时是景观中不寻常的部分。

Bishop – Thumbnails, blockout and location/position ideas

主教–缩略图，封锁和位置/位置提示

The Bishop – Final design / portrait

主教–最终设计/肖像

The pattern on his chest and parts of his face is formed out of keyhole-like ornaments and other details found on locks, his earrings resembling keys. The inside of the boat was inspired by old broken typewriters and their tightly stacked letter hammers, in our case used as a support for his body and/or little archival plaques.

他的胸部和脸部部位的图案是由钥匙Kong状装饰物和锁上的其他细节组成的，他的耳环类似于钥匙。船的内部受到老式破损打字机及其紧密堆积的字母锤的启发，在我们的案例中，锤被用作支撑他的身体和/或小的档案斑块。

蜂巢 (
THE HIVE)

HIVE，位置和道具 (THE HIVE, Location & Props)

The hive was based on Weaver birds nests or layered Wasps hives built on much larger scale using strips of tree bark bonded with mud or resin or roughly woven together. A lot of the smaller structures like the cars and lampposts drew inspiration from Cargo Cults, in the way that they mimic barely remembered or understood fragments of reality.

该配置单元基于Weaver鸟巢或分层的Wasps蜂房，它们使用与树皮或泥浆或树脂粘合在一起或粗织在一起的条状树皮大规模建造。许多较小的结构，例如汽车和路灯柱，都从《货神教徒》中汲取了灵感，仿佛他们几乎没有记住或理解现实的碎片。

An early layout of the world

世界的早期布局

This image is one of the early attempts to put our story progression and sequence of story beats into locations on a map. The cyan line is depicting a potential branching path across the environment.

此图像是将我们的故事进展和故事节奏序列放入地图上位置的早期尝试之一。青色线描绘了整个环境中潜在的分支路径。

Hive – Modules, props, and structure ideas

蜂巢–模块，道具和结构构想

Various props embodying the physical manifestation of memories – objects from their past life, rebuilt from the materials available in the forest – tree bark, mud, sticks.

体现记忆的物理表现的各种道具-过去生活中的物体，利用森林中可用的材料重建-树皮，泥巴，树枝。

Cars made from forest materials

森林材料制造的汽车

Birds, roughly sculpted from mud and sticks and suspended in the branches of the trees.

鸟，大致由泥和树枝雕刻而成，并悬浮在树枝上。

Hive – Approach (An early variant)

蜂巢–方法(早期变体)

This is an overpaint of an early screenshot showing the approach to the Hive over a fallen tree bridge up a hill.

这是早期屏幕截图的覆盖图，该截图显示了Hive在一座小山上的倒下的树桥上的进路。

Hive – Outer Gate

蜂巢–外门

This image was one of the exploration paintings for the entrance of the hive. One of the main challenges with the design of the Hive was to keep it from looking too much like a traditional manmade fort, or some other fantasy fortress. We wanted it to bare signs on intent and hint of purpose but only barely, straddling the line between accidental and constructed.

该图像是蜂巢入口处的探索画之一。蜂巢的设计面临的主要挑战之一是使其外观看起来不像传统的人造堡垒或其他幻想堡垒。我们希望它能在意图和目的上露出一些迹象，但只是勉强跨越偶然性和构造性之间的界线。

Stay tuned for our next posts in the series. Next week Plamen ‘Paco’ Tamnev dives into Character Art, and the week after Zdravko Pavlov explores the themes and process of asset creation in Book of the Dead with his approach to the trees. More to come after that.

请继续关注本系列的下一篇文章。下周，Plamen'Paco'Tamnev潜入了角色艺术领域，而Zdravko Pavlov则在一周后用他对树木的研究方法探讨了《死者之书》中资产创造的主题和过程。之后还会有更多。

Meet us at Unite Berlin on June 19 to walk through the Book of the Dead environment on a console yourself, and attend Julien Heijmans’s presentation about Environment art in the demo. See the full schedule here.

6月19日在柏林团结公园与我们会面，亲自在控制台上浏览《死亡之书》环境，并在演示中参加朱利安·海曼斯(Julien Heijmans)关于环境艺术的演讲。请在此处查看完整时间表。

More information on Book of the Dead

有关死者之书的更多信息

翻译自: https://blogs.unity3d.com/2018/06/01/book-of-the-dead-concept-art/