頂級(jí)3D建模技巧

一些世界上最令人興奮的3D藝術(shù)家分享他們的頂尖技巧和專業(yè)提示，以幫助你掌握建模，成為一個(gè)全方位更好的藝術(shù)家…

There are no shortcuts when it comes to becoming a great 3D artist. It takes talent, determination and hundreds and hundreds of hours of hard graft. Not only do you need the same artistic chops as a sculptor or a painter, but you need to know the software pretty much inside out too. But all that's not to say that you can't learn from other people, and the insights and tricks and yes, even shortcuts, that they've discovered through their hours of hard graft. We rounded up some of the best artists in the business, to let you in on their best modeling secrets.

當(dāng)談到成為一個(gè)偉大的3D藝術(shù)家沒有捷徑。 它需要天賦，決心和數(shù)百和數(shù)百小時(shí)的硬移植。 不僅你需要與雕刻家或畫家相同的藝術(shù)斬，但你需要知道軟件里面的東西也很多。 但所有這些不是說，你不能從別人學(xué)習(xí)，以及洞察和技巧，是的，即使是快捷方式，他們通過他們的硬嫁接發(fā)現(xiàn)了。 我們收集了一些最好的藝術(shù)家在業(yè)務(wù)，讓你在他們最好的建模秘密。

Tip 1: Helping hands

"Tools like the Select N Edge feature in Maya's Bonus Tools (and similar operations on many modeling packages) can quickly create complex surfaces such as cloth folds on dense meshes, baskets or similar objects, or a complex set of wires. Best of all, if you keep a tube shape you can unfold its UVs with a couple of clicks.” Carlos Ortega Elizalde

提示1：援助之手

“像Maya的”獎(jiǎng)金工具“中的”選擇N邊緣“功能（以及許多建模軟件包上的類似操作）之類的工具可以快速創(chuàng)建復(fù)雜的曲面，例如稠密網(wǎng)格，籃子或類似對(duì)象上的布褶， 如果你保持一個(gè)管的形狀，你可以展開其UVs，幾次點(diǎn)擊�！癈arlos Ortega Elizalde

Tip 2:Deform for detail

"You can create complex objects very quickly using deformers and selections. By making a tileable surface it is only a matter of adding a couple of bend deformers to get a complex-looking but attractive object.” Carlos Ortega Elizalde

提示2：更改詳細(xì)信息

“使用變形器和選擇，你可以非�？斓貏�(chuàng)建復(fù)雜的對(duì)象。通過制作一個(gè)花木表面，只需添加幾個(gè)彎曲變形器就可以得到一個(gè)復(fù)雜而有吸引力的對(duì)象�！盋arlos Ortega Elizalde

Tip 3: Keep it simple

"To model use the fewest tools you can. I usually use just the Standard brush, Clay brush, Clay Tubes brush, Move brush and DamStandard brush. I build my forms and structure with the Clay Tubes and I cut into the clay with the DamStandard brush to define the shapes.” Luca Nemolato

提示3：保持簡單

“模型使用最少的工具，我通常只使用標(biāo)準(zhǔn)刷，粘土刷，粘土刷，移動(dòng)刷和DamStandard刷。我用粘土管建立我的形式和結(jié)構(gòu)，我用DamStandard剪切粘土 刷定義形狀�！癓uca Nemolato

Tip 4: Cap holes with quads

"In ZBrush, when you use Close Holes (in the Modify Topology menu) to cap a hole in the geometry, it will create a cap made of triangles. These triangles are not the ideal surface for sculpting. You can quickly convert them to quads by Ctrl+Shift+clicking on the cap polygroup to isolate it, going to the ZRemesher menu, enabling the FreezeBorder option and pressing the ZRemesher button. The cap will now be mostly made of quads. It is not perfect, but much better than the triangles!” Jose Alves da Silva

提示4：帶四邊形的孔

“在ZBrush中，當(dāng)您使用”關(guān)閉孔“（在”修改拓?fù)洹安藛沃校└采w幾何圖形中的一個(gè)孔時(shí)，將創(chuàng)建一個(gè)由三角形組成的頂蓋。這些三角形不是雕刻的理想表面，您可以快速將它們轉(zhuǎn)換為四邊形 通過Ctrl + Shift +單擊帽子多組來隔離它，進(jìn)入ZRemesher菜單，啟用FreezeBorder選項(xiàng)并按ZRemesher按鈕。帽子現(xiàn)在將主要由四邊形組成。它并不完美，但比三角形好得多！“Jose Alves da Silva

Tip 5: Terrain tricks

"When you begin modeling an object, use Edit poly mode because if you use Edit Mesh you don't get important tools to work with and it can give you bad results when you render the image, such as wrong face normals, undesired edges on the faces and so on. A great tool that I use often in 3ds Max is the Populate Terrain script (www.populate3d.com) to fix the faces of the terrain and other objects from the clients' AutoCAD files.” Sergio Mereces

提示5：地形技巧

“當(dāng)你開始建模一個(gè)對(duì)象，使用編輯多模式，因?yàn)槿绻�你使用編輯網(wǎng)格，你不會(huì)得到重要的工具，它可以給你不好的結(jié)果，當(dāng)您渲染圖像，如錯(cuò)誤的臉部正常，不需要的邊緣 我在3ds Max中經(jīng)常使用的一個(gè)偉大的工具是Populate Terrain腳本（www.populate3d.com），用于修復(fù)地形和客戶端AutoCAD文件中的其他對(duì)象的面部�！癝ergio Mereces

Tip 6: Organic issues

"ZBrush is an amazing tool when it comes to sculpting organic models. Today, for something like rocks, I just go directly into ZBrush and sketch my model from a basic sphere or ZSpheres, then DynaMesh it every now and then till I get strong base shapes, and then after I have cleaned the topology, I continue adding details to the model. I make sure I use Layers in ZBrush because it offers a great way for a non-destructive workflow. After I'm done I decimate the final objects and bring it into 3ds Max/V-Ray to populate the scene.” Toni Bratincevic

提示6：有機(jī)問題

“ZBrush是一個(gè)令人驚奇的工具，當(dāng)它涉及到雕刻有機(jī)模型。今天，對(duì)于像巖石，我只是直接進(jìn)入ZBrush和草圖我的模型從一個(gè)基本的球體或ZSpheres，然后DynaMesh它每時(shí)每刻，直到我得到強(qiáng)基地 形狀，然后我清理拓?fù)�，我繼續(xù)添加細(xì)節(jié)到模型。我確保我使用ZBrush中的Layers，因?yàn)樗鼮榉瞧茐男怨ぷ髁魈峁┝艘粋�(gè)偉大的方式。完成后，我抽取最終的對(duì)象 并將其帶入3ds Max / V-Ray來填充場(chǎng)景�！癟oni Bratincevic

Tip 7: Don't obsess about topology

"Aside from in-game assets, don't obsess over topology unless your model is going to be rigged. This can become a huge waste of time. Many artists use ZBrush's decimation master or ZRemesher to create final assets when in a hurry. There are no topology police. Just know how to create good topology for the situations when it matters.” Alex Alvarez

提示7：不要癡迷拓?fù)?/h6>

“除了游戲中的資產(chǎn)之外，不要癡迷于拓?fù)�，除非你的模型要被操縱，這可能會(huì)浪費(fèi)時(shí)間。許多藝術(shù)家只是知道如何創(chuàng)建良好的拓?fù)浣Y(jié)構(gòu)的情況下，使用ZBrush的抽取主機(jī)或ZRemesher來快速創(chuàng)建最終資產(chǎn) 是沒有拓?fù)涞�，“Alex  Alvarez

Tip 8: Do obsess about topology

"Organic models (especially faces) benefit from good topology. How you structure the edge flow of a mesh can really help with skin deformations and morph targets. Radial edge loops from the eyes and mouth are the main points of reference on a face model. Use the nose and cheeks as convergence areas for these rings and avoid visible triangular polys wherever possible.” Andrew Hickinbottom

提示8：關(guān)于拓?fù)浣Y(jié)構(gòu)

“有機(jī)模型（特別是面孔）受益于良好的拓?fù)浣Y(jié)構(gòu)，如何構(gòu)造網(wǎng)格的邊緣流可以真正幫助皮膚變形和變形目標(biāo)。來自眼睛和嘴的徑向邊緣環(huán)是面部模型的主要參考點(diǎn)。 使用鼻子和面頰作為這些環(huán)的收斂區(qū)域，并盡可能避免可見的三角形多聚體�！癆ndrew Hickinbottom

Tip 9: Strike a pose

"When you're posing a character, particularly a pin-up, think about the silhouette and the line of action throughout the pose, and the simpler and clearer the better. Find appealing shapes, angles and curves on the model and enhance them with the posture. Tilting the hips and putting the weight on one leg creates an S-curved body, which is ideal for an archetypal pin-up pose.” Andrew Hickinbottom

提示9：敲擊姿勢(shì)

“當(dāng)你扮演一個(gè)角色，特別是一個(gè)針，想想整個(gè)姿勢(shì)的剪影和行動(dòng)線，更簡單和更清晰的更好。找到吸引人的形狀，角度和曲線的模型，并提高他們 傾斜臀部并將重量放在一條腿上產(chǎn)生了S形彎曲的身體，這是理想的原型針向姿勢(shì)�！癆ndrew Hickinbottom