使用zbrush制作特色的怪物

自由職業(yè)設(shè)計(jì)師亨寧桑登（Henning Sanden）通過(guò)他的ZBrush，MODO，MARI和Photoshop管道與他們共同創(chuàng)作了他的戲劇性光澤和質(zhì)感的喜劇怪物穆迪康拉德（Moody Conrad）

Freelance character designer, Henning Sanden, talks us through his ZBrush, MODO, MARI and Photoshop pipeline in the creation of his dramatically-lit and textured comedy monster, Moody Conrad...

Experimenting with shapes

I absolutely love to sketch in ZBrush ? it's a very zen experience for me. I often simply doodle around, and occasionally get something interesting that I can turn into a final piece. This was one of those sketches. I started out with no idea of what this was going to look like, simply pulling and pushing shapes using the Move and Clay Buildup brushes. Once the sculpt was working, I took it into Photoshop to paint over it. For me, this is a really efficient way to create concepts.

試驗(yàn)形狀

我絕對(duì)喜歡在ZBrush畫畫？ 對(duì)我來(lái)說(shuō)這是一個(gè)很禪的經(jīng)歷。 我經(jīng)常只是涂鴉，偶爾得到一些有趣的東西，我可以變成最后一塊。 這是這些草圖之一。 我開(kāi)始不知道這將是什么樣子，只需使用移動(dòng)和粘土積累刷子拉和推動(dòng)形狀。 一旦雕塑工作，我把它放到Photoshop中畫出來(lái)。 對(duì)我來(lái)說(shuō)，這是創(chuàng)造概念的真正有效的方式。

Concept creation can be done very efficiently if you combine the powers of sculpting in ZBrush with painting in Photoshop

如果您將ZBrush雕塑的力量與Photoshop中的繪畫相結(jié)合，則可以非常有效地進(jìn)行創(chuàng)意設(shè)計(jì)

Refining the model

At this point, I started to refine the sculpt. Still though, the only thing I cared about was the form. I carefully checked the silhouette at this stage to make sure it was as strong as I could get it. You should really consider a model to be a 360-degree silhouette. This way, the model will work from every angle.

During this stage, you don't put in any details, like pores and fine wrinkles. Think about the big masses, like the underlying skeleton, muscles, fat and skin. The number one beginner mistake I see is to put details in way too early without a working model underneath.

精煉模型

在這一點(diǎn)上，我開(kāi)始細(xì)化造型。 盡管如此，我唯一關(guān)心的是形式。 我仔細(xì)檢查了這個(gè)階段的輪廓，以確保它與我能得到的一樣強(qiáng)大。 你應(yīng)該真正考慮一個(gè)模型是一個(gè)360度的輪廓。 這樣，模型將從各個(gè)角度起作用。

在這個(gè)階段，你不要放入任何細(xì)節(jié)，如毛孔和細(xì)紋。 想想大群眾，如下面的骨架，肌肉，脂肪和皮膚。 我看到的第一個(gè)初學(xué)者錯(cuò)誤是把細(xì)節(jié)放在太早，沒(méi)有下面的工作模式。

Only work with big shapes and check your silhouette often

只能用大的形狀和經(jīng)常檢查你的剪影

Test renders

I will do test renders of all my projects throughout the production. This is extremely helpful to settle in on what I want in the end, particularly when I'm not working after a concept image set in stone.

I took the model into MODO, which I find to be phenomenal at lighting, shading and rendering ? with thanks to the interactive preview render. Doing these tests really helps me to know in which direction I'm going with my project. It's also a good idea to do these tests as I feel I can experiment with the lighting, use of colors and composition here, as I'm not as attached to the final image as I am in the end.

測(cè)試渲染

我將在整個(gè)生產(chǎn)過(guò)程中對(duì)所有項(xiàng)目進(jìn)行測(cè)試。 這是非常有幫助的解決我想要的最終，特別是當(dāng)我不工作的概念圖像設(shè)置在石頭。

我把模型搞到MODO，我發(fā)現(xiàn)在照明，陰影和渲染方面是驚人的？ 感謝互動(dòng)預(yù)覽渲染。 做這些測(cè)試真的有助于我知道我將在哪個(gè)方向與我的項(xiàng)目。 做這些測(cè)試也是一個(gè)好主意，因?yàn)槲矣X(jué)得我可以在這里嘗試照明，使用顏色和組合，因?yàn)槲也幌褡罱K圖像那樣附加在最終的圖像上。

Do test renders throughout your project. It takes only a few hours and the final result will benefit a lot from it

在整個(gè)項(xiàng)目中測(cè)試渲染。 它只需要幾個(gè)小時(shí)，最終的結(jié)果將從中受益匪淺

Gathering references

Constantly gather reference. If you want a believable end result, a good reference library is essential. My personal reference gallery now contains more than 8,000 images. Regardless of how good your internal visual library might be, you will still benefit from good reference. Sometimes I will only get the smaller details from reference, like how the wrinkles should be, or sometimes it's an idea for an entirely new direction for the entire project. Most of the time, it's something in between though. As with everything else, good reference is a tool. If used well, it will benefit your project.

收集參考

不斷收集參考。 如果你想要一個(gè)可信的最終結(jié)果，一個(gè)很好的參考圖書館是至關(guān)重要的。 我的個(gè)人參考畫廊現(xiàn)在包含超過(guò)8,000張圖片。 不管內(nèi)部視覺(jué)庫(kù)可能有多好，您仍然可以從好的參考中受益。 有時(shí)我只能從參考中獲得較小的細(xì)節(jié)，如皺紋應(yīng)該如何，或者有時(shí)它是整個(gè)項(xiàng)目的全新方向的想法。 大多數(shù)時(shí)候，它是在之間。 和其他一切一樣，好的參考是一個(gè)工具。 如果使用良好，這將有利于您的項(xiàng)目。

Mikkel H. Frandsen's image Spike Alien was one of Henning's references for Moody Conrad.

Mikkel H. Frandsen的形象Spike Alien是Henning對(duì)Moody Conrad的引用之一。

Getting feedback

Throughout the project, remember to show it to people you trust to give you good feedback. If you don't trust people you know in real life with feedback, post it online on forums like cgfeedback. The feedback you get can have a huge impact on the final result and also keep you motivated. After you've been looking at the same polygons and pixels for days, you become completely blind. A fresh pair of eyes can be so refreshing.

That said, remember your original vision and don't listen blindly to the feedback. Always take it into consideration, but remember that it's your project and if the feedback completely clashes with your vision, you're not obliged to change it.

獲取反饋

在整個(gè)項(xiàng)目中，請(qǐng)記住向您信任的人顯示給您良好的反饋。 如果您不信任您在現(xiàn)實(shí)生活中所知道的人，并提供反饋意見(jiàn)，請(qǐng)?jiān)赾gfeedback等論壇上發(fā)布。 您獲得的反饋可能會(huì)對(duì)最終結(jié)果產(chǎn)生巨大影響，并保持您的積極性。 在你看完相同的多邊形和像素幾天后，你就完全失明了。 一雙新鮮的眼睛可以如此清爽。

也就是說(shuō)，記住你的原始愿景，不要盲目?jī)A聽(tīng)反饋意見(jiàn)。 總是考慮到這一點(diǎn)，但請(qǐng)記住，這是您的項(xiàng)目，如果反饋與您的愿景完全沖突，則無(wú)需更改。

Don't be afraid to ask for feedback. Henning finds paintovers to be the best help, so if people can provide one, that's great

不要害怕提出反饋意見(jiàn)。 亨寧發(fā)現(xiàn)痛苦是最好的幫助，所以如果人們可以提供一個(gè)，那太好了

Finalizing the model

At this point, I had looked at a lot of references and got some solid feedback, so it was time to finalize the model! I'll spend nearly all my time sculpting using just a few brushes: Clay Buildup, Clay, Trim Dynamic, Dam Standard and the Standard Brush. They all have their strength and weaknesses.

Clay Buildup I use for the majority of the sculpting. It's extremely powerful, but it can also be hard to learn to use. I definitely recommend spending some time learning to love it. Dam Standard is also a true gem, particularly for scars, wrinkles, folds and so on.

完成模型

在這一點(diǎn)上，我已經(jīng)看了很多參考資料，得到了一些堅(jiān)實(shí)的反饋，所以現(xiàn)在是完成模型的時(shí)候了！ 幾乎所有的雕刻時(shí)間都會(huì)用幾塊刷子：Clay Buildup，Clay，Trim Dynamic，Dam Standard和Standard Brush。 他們都有自己的實(shí)力和弱點(diǎn)。

粘土堆積我用于大多數(shù)雕塑。 它非常強(qiáng)大，但也很難學(xué)會(huì)使用。 我絕對(duì)建議花點(diǎn)時(shí)間學(xué)習(xí)愛(ài)上它。 水壩標(biāo)準(zhǔn)也是一個(gè)真正的寶石，特別是對(duì)于疤痕，皺紋，褶皺等。

Find the brushes you like the best and figure out their strengths and weaknesses. Add them to hotkeys for faster sculpting

找到你最喜歡的畫筆，弄清楚他們的優(yōu)點(diǎn)和缺點(diǎn)。 將它們添加到熱鍵以加快雕刻

Texturing in MARI

I highly recommend texturing in MARI, if your computer can run it and if you have the budget. It's by far the most powerful texturing tool I've ever used. I've previously used both ZBrush and Mudbox for texturing, and while they're decent, MARI is just a step above them.

I started out with a monochromatic color scheme and pretty much only think about the values, such as which areas should be light and dark, regardless of the lighting. After my values were working, I slowly started to add color variation to the texture. Color variation can really make the texture come to life and feel less CG and dull.

MARI紋理

如果您的電腦可以運(yùn)行，并且如果您有預(yù)算，我強(qiáng)烈建議在MARI中進(jìn)行紋理化。 這是迄今為止我使用過(guò)的最強(qiáng)大的紋理工具。 我以前一直使用ZBrush和Mudbox進(jìn)行紋理化，而在體面的時(shí)候，MARI只是一步之上。

我開(kāi)始使用單色配色方案，并且?guī)缀踔豢紤]這些值，如哪些區(qū)域應(yīng)該是明暗的，不管照明如何。 在我的價(jià)值觀工作之后，我慢慢地開(kāi)始向紋理添加顏色變化。 顏色變化真的可以使紋理變得生動(dòng)，感覺(jué)更少CG和沉悶。

When texturing, Henning started out by blocking out the values first before adding color

當(dāng)紋理化時(shí)，Henning開(kāi)始通過(guò)在添加顏色之前先排除值

Rendering in MODO

I love to use MODO to render my personal projects. For this project, I used the built-in skin shader, a displacement map and 3 area lights. The previous lighting tests were extremely helpful here, as I had a somewhat clear idea of how I could set up the lights and what I wanted.

The teeth were a tad too dark, so I set up a spot light and light-linked it to the teeth-item to make it brighter. When I light, I try to think in real-world terms like a photographer, but I'm not afraid to break the rules of physics to get the result I want.

渲染MODO

我喜歡使用MODO來(lái)渲染我的個(gè)人項(xiàng)目。 對(duì)于這個(gè)項(xiàng)目，我使用了內(nèi)置的皮膚著色器，位移圖和3個(gè)區(qū)域燈。 以前的照明測(cè)試在這里非常有用，因?yàn)槲矣幸粋�(gè)很清楚的想法，我可以如何設(shè)置燈和我想要的。

牙齒太暗了，所以我設(shè)置了一個(gè)點(diǎn)光源，并將其輕輕地鏈接到牙齒上，使其更亮。 當(dāng)我點(diǎn)亮?xí)r，我試著用真實(shí)世界的方式來(lái)思考一下攝影師，但是我不怕破壞物理學(xué)的規(guī)律來(lái)獲得我想要的結(jié)果。

For lighting and rendering on personal projects, Henning uses MODO as it's easy and quick to get good results

對(duì)于個(gè)人項(xiàng)目的照明和渲染，Henning使用MODO，因?yàn)樗�很容易和快速地獲得良好的效果

TOP TIP: The importance of post-production work

Never, ever, underestimate the power of good post work in an app like NUKE or Photoshop. It can take a render from being dull to being nice, or a great render to something truly fantastic.

When working, I always do some post-work in the end, even if it's just a tiny color correction. A huge beginner-mistake is to never do any post on their renders and they assume that the image will only be as good as what they can get out of their 3D software.

小貼士：后期制作工作的重要性

永遠(yuǎn)不要低估在像NUKE或Photoshop這樣的應(yīng)用程序中良好的后期工作的力量。 它可以渲染從沉悶到美好，或一個(gè)偉大的渲染，真正的夢(mèng)幻般的東西。

在工作時(shí)，我總是做一些后期的工作，即使這只是一個(gè)微小的顏色校正。 一個(gè)巨大的初學(xué)者錯(cuò)誤是永遠(yuǎn)不會(huì)在他們的渲染上發(fā)表任何帖子，他們認(rèn)為圖像只會(huì)像他們的3D軟件一樣好。

At the end of every project, Henning highly recommends that you do some solid post work on your image. It can really make a significant difference

在每個(gè)項(xiàng)目結(jié)束時(shí)，Henning強(qiáng)烈建議您對(duì)您的形象進(jìn)行一些穩(wěn)固的后期工作。 真的可以有顯著的區(qū)別