THIS IS MY FIRST ART THERAPY WORK 这是我的第一个艺术疗愈作品
In this restless and uncertain era, I created this work to bring a soothing experience to the audience.
在这个浮躁与不确定的时代，我创作了这个作品，旨在为观众带来抚慰心灵的体验。
Through the Niagara system of Unreal Engine, I let the magical elements evolve in real time with the sound and character behavior, hoping to guide the audience on a new audiovisual journey. I adhere to my personal characteristics of stylized rendering effects, striving for both emotion and skill. I hope this work can inspire the audience to explore their inner world and regain their spiritual strength.
通过虚幻引擎的Niagara系统，我让魔法元素随声音与角色行为实时演变，希望能引导观众踏上视听新旅程。我坚持个人特色的风格化渲染效果，力求情感与技艺并存。希望此作能启发观众探寻内心，重获精神力量。
CREATIVE CONTENT
创意内容
I have always felt the importance of mindfulness self-suggestion for inner peace. However, the existing meditation videos are often too simple and lack artistic quality. So, I had an idea: why not present this positive suggestion in an artistic form?
一直以来，我深感正念自我暗示对于内心平和的重要性。然而，现有的冥想视频往往过于简陋，缺乏艺术性。于是，我萌生了一个想法：为何不将这种正向的暗示以艺术的形式呈现出来呢？
This work is my exploration and expression of my inner world, as well as a bold attempt to integrate creation.
In the work, I present the wonderful process of meditation through artistic means.
这部作品，是我对内心世界的探索与表达，也是我向综合创作的一次大胆尝试。
在作品中，我通过艺术化的手法呈现冥想的美妙过程。
I use dreamy light and shadow, energy waves that interact with fingers, gradually brightening butterfly particles and other elements, to create a slow and dreamy rhythm, intending to make the audience feel as if they are in a magical spiritual world.
At the same time, I use the form of finger and screen interaction, to let the audience also feel the flow of energy and positive spirit in the viewing.
This interactive form is inspired by Namie Amuro’s MV “Golden Touch”.
我运用梦幻的光影、与手指互动的能量波、逐渐明亮的蝴蝶粒子等元素，营造出一种缓慢而梦幻的节奏，意图让观众仿佛置身于一个神奇的精神世界。
同时，我通过手指与屏幕互动的形式，让观众在观赏中也能感受到能量的流动和正向精神的暗示。
这个互动形式灵感来自安室奈美惠的MV《Golden Touch》
CREATIVE METHODS
创意方法
This is a creative work that uses the Unreal Engine Niagara effects system as a practice. I explored the various possibilities of the Unreal Engine Niagara effects system and integrated technology and art.
这是一部运用虚幻引擎Niagara特效系统的实践的创意作品，我深入探索了虚幻引擎的Niagara特效系统的各种可能性，将技术与艺术融合。
{Sprite粒子动态变化}
I tried the idea of Sprite sound wave particles. I designed several different forms, such as the amplitude, frequency, phase, etc. of the sound wave, which affect the shape, size, color, and other attributes of the particles, forming a dynamic change.
我尝试了Sprite音波粒子的创意。设计了几种不同的形式，比如音波的振幅、频率、相位等，都会影响粒子的形状、大小、颜色等属性，形成了一种动态的变化。
{粒子×音频波动}
Through the Niagara system, I achieved a deep binding of particles and music, making the visual and auditory complement each other.
通过Niagara系统，我实现了粒子与音乐的深度绑定，让视觉与听觉相互辉映。
{跟随音乐飞舞的蝴蝶}
I made small butterfly-shaped particles, letting them fly with the rhythm of the music. These particles seem to be given life by the music, they either flutter lightly or fly intensely, the more intense the music, the higher their flying speed, forming a visual and auditory synchronization.
我制作了小蝴蝶形态粒子，让它们跟随音乐的节奏飞舞。这些粒子仿佛被音乐赋予了生命，它们或轻盈飘舞，或激烈翻飞，越是激烈的音乐，它们的飞行速度和幅度就越高，形成了一种视觉和听觉的同步。
{粒子与物体的互动}
In terms of the interaction between magic particles and object animation, the details such as the character’s disappearance Niagara effect, the gorgeous scene of the hand casting magic, and the tail effect following the butterfly, all add a touch of fantasy to the work.
在魔法粒子与物体动画的互动方面，角色消失的Niagara特效、手部施展魔法的华丽场景以及蝴蝶的尾部特效跟随等细节设计，都为作品增添了一抹奇幻的色彩。
{梦幻的三渲二材质}
In terms of materials, I upgraded the three-rendering-two material. By integrating light colors, combining with glowing materials, and using Fresnel technology to create sci-fi light and shadow, I gave the work a richer sense of layering and dreamy light and shadow effects.
在材质方面，我对三渲二材质进行了升级。通过融合光线色彩、与发光材质的结合以及利用菲涅尔技术创建科幻光影等手段，我赋予了作品更加丰富的层次感和梦幻的光影效果。
{多重深度的彩色云雾}
To create the atmosphere of the work, I used the fog effect that reads the scene depth, and used different depths to create monochrome and multicolor fog, adding a touch of mystery to the work.
为了营造出作品的氛围感，我使用了读取场景深度的雾气效果，利用不同深度创建单色与多色雾气的手法，为作品增添了一抹神秘的气息。
{后期处理材质的运用}
Through post-processing materials, I created bloom and light spot effects, enhancing the dreaminess of the picture. Adjusting the camera focal length makes the picture show a more delicate sense of layering.
通过后期处理材质，我创建了模糊与光斑效果，增强了画面的梦幻感。调整相机焦距则使得画面呈现出更加细腻的层次感。
{灵活变化的参数}
In terms of parameter adjustment, I used a variety of methods to make the work more flexible and controllable. I used material function lists and niagara parameter lists, and manually set keyframes in sequence animation. I also wrote blueprints to make the work interact with the audio in real time, which makes the work have greater application potential in interactive projects.
在参数调整方面，我运用了多种手法，让作品更加灵活和可控。我使用了材质函数列表和Niagara参数列表，在序列动画中手动设置关键帧。还编写了蓝图，让作品与音频产生实时互动，这种互动性使得作品在互动项目中具有更大的应用潜力。
This work is a summary of my exploration and practice in the field of digital art.
这部作品是我对数字艺术领域的探索与实践的一次总结。
