中國功夫茶的魅力

有時候，我想知道歷史上偉大的藝術作品的性格在現(xiàn)代時代將會如何。 所以我創(chuàng)造了這張照片：一杯茶, 我希望他們看起來像是在中國茶館里體會到中國功夫茶的魅力，但是那個喝茶的人看起來像個新手。

Sometimes I wonder what the characters of great artworks from history would do in the modern age. So I created this picture: A cup of tea? I wanted them to look like they were experiencing the charm of Chinese Kung Fu tea in a Chinese teahouse, but the man who makes their tea looks like a newbie.

So, next I'll describe the creation of the artwork and talk about my general production process.

那么接下來我會描述藝術品的創(chuàng)作，并談論我的一般生產(chǎn)過程。

Planning time and collecting data

A cup of tea? is my latest work, and it took about two and a half months in total to finish. Most 3D practitioners know that planning a cycle to control the quality is important. We can't avoid the problem; all we can do is take a short amount of time to plan, in order to achieve the quality and efficiency of a win-win situation. So when I started this project, I set up an overall time estimate and began to plan a general plan as follows:

The first stage, I mainly figure is more in accordance with your own goals, so choose photographs and inspirations as you prefer for your image. Then you can draw a rough design. If you prefer, you can also use 3D software such as 3ds Max or ZBrush to rough out a simple simulation of the human body.

規(guī)劃時間和收集數(shù)據(jù)

一杯茶,是我的最新作品，大概需要兩個半月的時間才能完成。大多數(shù)3D從業(yè)者都知道，規(guī)劃一個循環(huán)來控制質量很重要。我們不能避免這個問題;我們所能做的只是花很少的時間來規(guī)劃，以達到雙贏的質量和效率。所以當我開始這個項目時，我設定了一個整體的時間估計，并開始計劃一個總體規(guī)劃如下：

第一個階段，我主要是依靠自己的目標，所以選擇照片和靈感，因為你喜歡你的形象。那么你可以畫一個粗略的設計。如果您愿意，還可以使用3ds Max或ZBrush等3D軟件來粗略地對人體進行簡單的模擬。

Modeling technique

Because the action in the scene is a bit much and I can't take on all of the accuracy and integrity of each individual all at once, I go by the philosophy ?divide and conquer'. When I reach a certain point with each model, I set the benchmark and continue onto the next one.

So to start, I began with the production of Van Gogh and his sunflower. Because this is a famous art painting, the search is reveals relatively good data. At the same time though, the production is made more challenging because the image must match that data perfectly.

建模技術

因為場景中的動作有點多，我不能一勞永逸地掌握每一個人的所有準確性和完整性，我遵循哲學分裂征服。 當我到達每個模型的某一點時，我設置基準并繼續(xù)下一個。

所以開始，我開始生產(chǎn)梵高和他的向日葵。 因為這是一幅著名的美術作品，搜索結果顯示出相對較好的數(shù)據(jù)。 同時，制作更具挑戰(zhàn)性，因為圖像必須完美匹配該數(shù)據(jù)。

Modeling Van Gogh

The key to modeling the sunflower is to use the Move brush and sculpt from the inside to the outside. The key to modeling Van Gogh is depict the feeling of the Van Gogh's nervousness, and show that he wants to protect his precious sunflower.

The pores of the sculpture were made with the DamStandard brush with four kinds of alpha. I draw these out by hand, and then carved them into the face using reference images. Although it takes some time, it can create a very good effect.

造型梵高

建模向日葵的關鍵是使用移動刷和雕刻從內到外。 梵高建模的關鍵是描繪梵高的緊張感，并表明他想保護他珍貴的向日葵

雕塑的毛孔是用DamStandard刷與四種alpha制成的。 我用手畫出這些，然后使用參考圖像將它們刻成臉。 雖然需要一些時間，但它可以創(chuàng)造一個非常好的效果

Modeling Van Gogh's clothes

The production of Van Gogh's clothing as a whole was a little different. For this image I tested some new software called Marvelous Designer (MD) to create the clothing, but because it was my first attempt, it did not create a particularly good effect and actually increased the testing time a lot. All in all though, it's a really good software and is worth a try.

Now I can use MD smoothly though, and I hope I can enlighten you with its techniques in the future. This time though, because the software didn't work for me, I used the old way of finding a good reference to carve the clothing from. Where do you get the references from? You don't need to buy new clothes for this; the internet is full of clothing reference images you can browse through.

建模梵高的衣服

梵高整個服裝的生產(chǎn)有一點不同。 對于這個圖像，我測試了一些名為Marvelous Designer（MD）的新軟件來創(chuàng)建服裝，但是由于這是我的第一次嘗試，它并沒有產(chǎn)生特別好的效果，實際上增加了測試時間。 總而言之，這是一個非常好的軟件，值得一試。

現(xiàn)在我可以順利的使用MD，希望未來可以啟發(fā)您的技術。 這一次，因為軟件對我來說并不奏效，我用舊的方式找到了一個很好的參考，從中挖出衣服。 你從哪里獲得參考？ 你不需要買這件新衣服; 互聯(lián)網(wǎng)充滿了您可以瀏覽的服裝參考圖像。

Clothing detail

The Van Gogh model was then basically complete, so I created all the other models on the same principle. Though the other characters followed much the same pattern, I've outlined some of the more complex techniques used in the creation of their individual characteristics.

First, the sweater weave. The sweater was created with a curve in 3ds max. I then copied it out, baked the model and saved it out as a height map in ZBrush. I then imported the height map into Photoshop to create the pattern of the sweater, then pushed it back into ZBrush with the model, and started masking by color. Then I used an Inflat deformation with a moderate setting to create the woolen sweater effect. You could either follow these steps, or simply find a good sweater texture.

服裝細節(jié)

梵高模型基本完成，所以我創(chuàng)造了所有其他模型的原則。 雖然其他角色遵循了相同的模式，但我已經(jīng)概述了創(chuàng)建個人特征中使用的一些更復雜的技術。

首先，毛衣編織。 毛衣是用3ds max的曲線創(chuàng)建的。 然后我將它復制出來，烘烤模型并將其作為ZBrush的高度圖保存。 然后我將高度圖導入到Photoshop中以創(chuàng)建毛衣的圖案，然后用模型將其推回到ZBrush中，并開始用顏色遮蔽。 然后我使用中等厚度的Inflat變形來制作羊毛毛衣效果。 你可以按照這些步驟，或者只是找到一件好的毛衣紋理。

Clothing patterns

The dragon pattern on David's shirt was created simply by painting in the shapes, stroke-by-stroke. There is no simple way to speed this process up, and if you want to save time, you have to improve your proficiency.

After painting the design into a Bump map, you can use it to reapply over the surface, as we did with the sweater, if you need to.

服裝模式

大衛(wèi)襯衫上的龍紋就是通過繪制形狀，按筆畫形成。 沒有簡單的方法來加速這個過程，如果你想節(jié)省時間，你必須提高你的熟練程度。

在將設計繪制成凹凸貼圖后，您可以使用它重新應用在表面上，就像我們對毛衣的要求一樣。

Water modeling

The water was modeled using DynaMesh in ZBrush and then using the Move and Insert brushes to arrange

the droplets.

水建模

使用ZBrush中的DynaMesh對水進行建模，然后使用移動和插入畫筆進行排列

液滴。

Texturing

After I sculpted all the models to the same level of detail, I began mapping and applying texturing materials. The size of textures in my works is usually 4096x4096.

When texturing, my habit is to start the topology and split the UV when the model basically completed. I used the UV layout in Maya to unwrap the UVs, though for the few smaller items, I split the UV using the ZBrush UV master.

When the UVs were done, I began to paint the textures. I started with the Van Gogh model again. For the skin, I used the light and shadow functions in Photoshop to remove the shadows and highlights and then texture-mapped the skin in Mudbox (because it retains the same detail as ZBrush), modified it back in Photoshop, and finally repaired the

seams in Mudbox.

紋理化

在我將所有模型雕刻到同一水平的細節(jié)之后，我開始繪制和應用紋理材料。 我的作品中紋理的大小通常是4096x4096。

紋理化時，我的習慣是啟動拓撲，并在模型基本完成時分割UV。 我使用Maya中的UV布局來打開UV，盡管對于較小的項目，我使用ZBrush UV主機分割UV。

當UV完成后，我開始畫紋理。 我再次從梵高模式開始。 對于皮膚，我使用Photoshop中的光影和陰影功能刪除陰影和高光，然后紋理映射Mudbox中的皮膚（因為它保留與ZBrush相同的細節(jié)），在Photoshop中修改它，最后修復

接縫在Mudbox中。

Diffuse map

The Diffuse map must be very flat (with no light or shadow). That way you won't have a problem with the lighting and shadow when you render the image. Once the texture is finished, you can check the material effect and move onto adding the detail.

Adding the detail primarily consists of making the Bump map. The Normal map helps restore the general model, and the role of the Bump map is to add more height variety to the surface of the skin.

You can create a Bump map by desaturating the image, then adding curves and levels in Photoshop.

紋理化

在我將所有模型雕刻到同一水平的細節(jié)之后，我開始繪制和應用紋理材料。 我的作品中紋理的大小通常是4096x4096。

紋理化時，我的習慣是啟動拓撲，并在模型基本完成時分割UV。 我使用Maya中的UV布局來打開UV，盡管對于較小的項目，我使用ZBrush UV主機分割UV。

當UV完成后，我開始畫紋理。 我再次從梵高模式開始。 對于皮膚，我使用Photoshop中的光影和陰影功能刪除陰影和高光，然后紋理映射Mudbox中的皮膚（因為它保留與ZBrush相同的細節(jié)），在Photoshop中修改它，最后修復接縫在Mudbox中。

Materials and lighting

I used the VRayMtl shaders to simulate normal objects, and the VRayFastSSS2 shader to simulate objects with an SSS material effect. The image here shows the skin materials and cloth material settings. For the cloth, I used the Falloff in the self-illumination layer.

材料和照明

我使用VRayMtl著色器來模擬正常對象，并使用VRayFastSSS2著色器來模擬具有SSS材質效果的對象。 這里的圖像顯示了皮膚材料和布料的設置。 對于布，我在自發(fā)光層中使用了衰減。

Test lighting and rendering

First of all, I found suitable HDR images, and added a test light rig as shown here.

You'll find that you might need to test light/render hundreds of times to get the look you want, but it's always worth it.

測試照明和渲染

首先，我發(fā)現(xiàn)了合適的HDR圖像，并添加了如圖所示的測試燈。

你會發(fā)現(xiàn)，你可能需要測試光/渲染數(shù)百次來獲得你想要的外觀，但它總是值得的。

Hair

All hair was done using the Hairtrix (Ornatrix) plug-in in 3ds Max. The brush is very useful, and you only need to adjust its settings to 0.1. Before you start teasing out hair, you'd better plan out and know what kind of hairstyle you want to create. Don't forget to pay attention to the uniformity of the UVs too.

頭發(fā)

所有的頭發(fā)都是使用3ds Max中的Hairtrix（Ornatrix）插件完成的。 刷子非常有用，您只需要將其設置調整為0.1。 在你開始抽出頭發(fā)之前，你最好打算出來，知道你想要制作什么樣的發(fā)型。 不要忘了注意紫外線的均勻性。

Rendering

After the preparation work was done, I could start work on the final lighting test. The overall rendering, while it initially wasted some time getting the right one, had a good outcome in the end. Once I'd rendered out the model, I rendered out various channel layers at over 5000 pixels each.

渲染

準備工作完成后，我可以開始最后的照明測試工作。 總體渲染雖然最初浪費了一段時間才能獲得正確的效果，但最終取得了不錯的成績。 一旦我提出了模型，我渲染了各種通道圖層，每個圖像超過5000個像素。

Post-production

Because I already knew at the start that I wanted a certain effect, I could move into Photoshop with a clear idea of my final look. First, I made a simple fog effect, and worked on the depth of field, air effect, etc. I also adjusted the color, contrast, brightness adjustment levels (see the image here).

I also adjusted the sharpness using the Unsharp mask, and compressed the image size (to fit the recommended storage format for the web) before sharpening again.

After that, my entire production process was over. Thanks for reading about my experiences with this project and I hope everybody can learn something from it.

后期制作

因為我一開始就知道我想要一定的效果，所以我可以進一步了解我的最后一眼。 首先，我做了一個簡單的霧效果，并在景深，空氣效果等方面工作。我還調整了顏色，對比度，亮度調整水平（見圖）。

我還使用Unsharp蒙版調整銳度，并在再次進行銳化之前壓縮圖像大�。ㄒ赃m應網(wǎng)絡的推薦存儲格式）。

之后，我的整個生產(chǎn)過程結束了。 感謝您閱讀本項目的經(jīng)驗，希望大家能從中學到一些東西。