創(chuàng)造令人信服的神話生物

Brahim Azizi解釋了在創(chuàng)建Barbarian Minotaur時(shí)采用的ZBrush和Photoshop工作流程，從概念雕刻到最終的合成階段

Brahim Azizi explains the ZBrush and Photoshop workflow adopted in the creation of Barbarian Minotaur, from concept sculpting to the final compositing stages

This character is based on the Minotaur creature, from the Great Atlas Mountains in Morocco, North Africa. I was inspired by the Amazigh and Berber culture in Morocco. I didn't want to make a typical human; I wanted to try something different, massive and unique.

這個(gè)角色是基于來(lái)自北愛(ài)爾蘭摩洛哥的大阿特拉斯山脈的納諾托生物。 我受到摩洛哥的Amazigh和Berber文化的啟發(fā)。 我不想做一個(gè)典型的人; 我想嘗試不同的，大規(guī)模的和獨(dú)一無(wú)二的東西。

After experimenting with various designs based on other artist's concepts, I decided to create my own concept this time. I wanted to apply what I've learned as an artist and also push my level up and challenge myself to develop more skills.

在基于其他藝術(shù)家的概念進(jìn)行各種設(shè)計(jì)的實(shí)驗(yàn)之后，我決定自己創(chuàng)建自己的概念。 我想把我所學(xué)到的東西應(yīng)用到藝術(shù)家身上，同時(shí)也推動(dòng)自己的層次，挑戰(zhàn)自己來(lái)發(fā)展更多的技能。

This project was done using only ZBrush, and Photoshop for compositing, no extra software was used. So I'm going to show you an overview of how I created this beast, and I hope you guys enjoy it!

該項(xiàng)目?jī)H使用ZBrush和Photoshop進(jìn)行合成，沒(méi)有使用額外的軟件。 所以我要向大家介紹一下我如何創(chuàng)建這個(gè)野獸，希望你們能享受吧！

Starting to model
開(kāi)始模型

I began with a basic base mesh and started to sculpt the body shape of the creature while looking at references of Minotaur and similar animals such as bison and bulls.

我開(kāi)始用基本的基礎(chǔ)網(wǎng)格，并開(kāi)始雕刻生物的身體形狀，同時(shí)看著牛頭魚(yú)和類似動(dòng)物（如野牛和公牛）的參考文獻(xiàn)。

After I blocked out the basic form of the model, I did then a quick retopology using ZRemesher so I wouldn't have mesh problems later on (My goal was to work entirely in ZBrush).

在我阻止了模型的基本形式之后，我使用ZRemesher進(jìn)行了快速重新學(xué)習(xí)，所以我以后不會(huì)有網(wǎng)格問(wèn)題（我的目標(biāo)是完全在ZBrush中工作）。

After retopologizing the body, I posed the character using Transpose Master. I tried few poses before I decided to go for the one shown here.

在重新對(duì)身體進(jìn)行重新定位之后，我用轉(zhuǎn)位大師提出了這個(gè)角色。在我決定去這里顯示的那個(gè)之前，我嘗試了很少的姿勢(shì)。

I then started to work on the anatomy with Symmetry turned off - this made the character look more natural than a stiff symmetrical pose. I worked a lot of muscular information into the pose, which made it a great study for me.

然后，我開(kāi)始研究解剖學(xué)，對(duì)稱性關(guān)閉 - 這使得角色看起來(lái)比僵硬的對(duì)稱姿勢(shì)更自然。我把很多肌肉信息作為姿勢(shì)，這對(duì)我來(lái)說(shuō)是一個(gè)很好的學(xué)習(xí)。

When I'd finished adding the anatomy, I started sculpting and modeling the other equipment for the character. I made some changes to the design, because I kept thinking of new ideas to try. The hair and fur were done with Fibermesh and brushes such as the Move and Groom brush.

當(dāng)我完成了解剖結(jié)構(gòu)的添加，我開(kāi)始雕刻和建模其他設(shè)備的角色。我對(duì)設(shè)計(jì)做了一些改變，因?yàn)槲乙恢痹谙胄碌南敕�。毛發(fā)和毛皮都用Fibermesh和刷子，如Move和Groom刷。

After all the parts were detailed, the character was ready for texturing.

所有的部分都是詳細(xì)的，這個(gè)角色已經(jīng)準(zhǔn)備好了。

Texturing
紋理化

As my plan was to work everything inside ZBrush, I didn't have to bother with UVs and unwrapping in the texture stage. Instead I painted the texture on the actual 3D model using PolyPaint.

由于我的計(jì)劃是在ZBrush內(nèi)部進(jìn)行任何操作，所以我不必在紋理階段打擾UV和解開(kāi)包裝。 相反，我使用PolyPaint在實(shí)際的3D模型上繪制紋理。

I chose color tones and tattoos inspired by Africa, and ancient Moroccan Amazigh and Berber cultures.

我選擇了色調(diào)和紋身，靈感來(lái)自于非洲，古老的摩洛哥Amazigh和Berber文化。

I started to paint the texture using a mix of different alphas and textures rather than colors, on the first layer. I then painted the tattoos on a different layer. I also painted the fibers in.

在第一層，我開(kāi)始使用不同的阿爾法和紋理混合而不是顏色來(lái)繪制紋理。 然后我將紋身畫(huà)在不同的層上。 我也畫(huà)了纖維。

Render passes
渲染通行證

Once I had finished texturing, it was time to figure out the different passes I would need to get a convincing realistic look to my character. I started with the main passes: Color, Ambient Occlusion, Shadow, Specular, Reflection, Mask and ZDepth pass.

一旦我完成紋理，現(xiàn)在是時(shí)候弄清楚不同的通行證，我需要得到一個(gè)令人信服的現(xiàn)實(shí)的外觀我的性格。 我開(kāi)始的主要通行證：顏色，環(huán)境遮擋，陰影，鏡面，反射，面具和Z深度通過(guò)。

In this image you can see all the passes I used: Color, Ambient Occlusion, Gravity, 3 Shadows, a Fill light, Back light, Rim light, 2 Specular passes and a Reflection pass.

在此圖像中，您可以看到我使用的所有通道：顏色，環(huán)境遮擋，重力，3陰影，填充燈，背光，輪輻光，2鏡面光圈和反射光圈。

Then I took the passes to Photoshop to start the first compositing with these basic passes. In the process of compositing, I end up rendering more passes in ZBrush - two more Shadow passes each with different parameters, a Gravity pass using MatCap, another Specular map, and back and rim light passes.

然后我把通行證傳給Photoshop，開(kāi)始第一次合成這些基本通行證。 在合成過(guò)程中，我最終在ZBrush中渲染更多的通過(guò) - 每個(gè)具有不同參數(shù)的兩個(gè)陰影傳遞，使用MatCap的Gravity pass，另一個(gè)鏡面反射圖以及后面和邊緣光通過(guò)。

I then I saved each render separately by exporting the pass file. After exporting the rest of passes, it was then time to work on much more advanced compositing.

然后，我通過(guò)導(dǎo)出傳遞文件分別保存每個(gè)渲染。 在出口剩余的通行證后，現(xiàn)在可以進(jìn)行更高級(jí)的合成。

Compositing render passes
合成渲染過(guò)程

During this stage, I did a lot of tests to find the perfect place for every layer.

在這個(gè)階段，我做了很多測(cè)試，找到每一層的完美的地方。

Most of the passes were set to Multiply, Screen, Overlay or Soft Light modes, and each were given appropriate levels of Opacity.

大多數(shù)通行證被設(shè)置為“乘法”，“屏幕”，“疊加”或“軟光”模式，并且每個(gè)都被賦予適當(dāng)?shù)牟煌该鞫人�平�?/p>

For the two Specular, Reflection, Rim and Back light passes, I added a mask for every layer and painted the opposite to hide the areas that didn't look right in the image. Because rendering in ZBrush is a bit different, you need to do things manually.

對(duì)于兩個(gè)鏡面，反射，輪輞和背光通過(guò)，我為每一層添加了一個(gè)面具，并在相反的位置上隱藏圖像中看起來(lái)不正確的區(qū)域。 因?yàn)樵赯Brush中渲染有點(diǎn)不同，所以你需要手動(dòng)進(jìn)行。

Final touches
最后的潤(rùn)色

Once I composited all of my passes, I start adding some photos of textures, dirt and metal on top of my composition. This was to add a touch of realism to the image.

一旦我合成了我的所有通行證，我開(kāi)始添加一些紋理，污垢和金屬的照片在我的作品之上。 這是為了給圖像增添一抹現(xiàn)實(shí)感。

I also did some paint-overs to pull out some more detail, and create highlights and shadows in different areas.

我也做了一些涂漆，以提取一些更多的細(xì)節(jié)，并在不同的領(lǐng)域創(chuàng)造亮點(diǎn)和陰影。

I used filters such as Noise, and added a photo of snow and dirt with some Radial Blur to add some movement and dynamics to the image. With some final color correction, I got the final image.

我使用過(guò)濾器，如噪音，并添加一些雪和污垢與一些徑向模糊的照片添加一些運(yùn)動(dòng)和動(dòng)態(tài)的圖像。 通過(guò)一些最終的顏色校正，我得到了最終的形象。