使用ZBrush制作機(jī)械師的工作流程

嗨，我叫Carsten，我想告訴你我的最新項(xiàng)目The Mechanic是如何創(chuàng)建的。 這個(gè)角色是一個(gè)個(gè)人項(xiàng)目，我在空閑的時(shí)間里一直在努力，結(jié)合一些技巧（我將在本文中討論）。 在塑造有機(jī)和技術(shù)物體以及物質(zhì)和紋理如何在Substance Painter中形成，我們將看看我的工作流程。

Hi, my name is Carsten and I want to show you how my latest project The Mechanic was created. This character is a personal project which I have been working on in my free time in order to combine some techniques (which I will talk about in this article). We will look at my workflow when it comes to sculpting both organic and technical objects, and how materials and textures come into being in Substance Painter.

Some sketches

I had a relatively precise idea of how I wanted the /The Mechanic/ to look; bearded, strong and dressed in rough materials such as heavy leather and thick fabric. The mechanical hand, the neck brace glowing from the inside, tools, dirt, and oil stains ? I wanted all of these to feature in the final image as a reflection of his working and living environments.

I started by creating some sketches to get an idea of which hairstyle I would give him; a bald head seemed to fit best. I directly created the other objects e.g. the neck brace and clothing in ZBrush. Using my initial sketch, the head was sculpted from a simple DynaMesh Sphere and other standard tools ? the Standard, ClayBuildup, and Dam_Standard brushes. I tried not to get lost too much detail at this point.

一些草圖

我有一個(gè)比較精確的想法，我想要機(jī)械師看起來(lái)有胡子，堅(jiān)強(qiáng)，穿著粗糙的材料，如重皮革和厚織物。 機(jī)械手，從內(nèi)側(cè)發(fā)光的頸部支架，工具，污垢和油漬， 我想讓所有這些都在最后的形象中表現(xiàn)出來(lái)，反映了他的工作和生活環(huán)境。

我開(kāi)始創(chuàng)造一些草圖來(lái)了解我會(huì)給他什么發(fā)型; 禿頭似乎最適合。 我直接創(chuàng)建了其他對(duì)象，例如在ZBrush里創(chuàng)建頸部支架和衣服。 使用我的初步草圖，頭像是從簡(jiǎn)單的DynaMesh Sphere和其他標(biāo)準(zhǔn)工具雕刻出來(lái)的。 Standard，ClayBuildup和Dam_Standard畫(huà)筆。 在這一點(diǎn)上，我試著不要迷失太多的細(xì)節(jié)。

Accessory creation and detailing - a workflow example

The boots make a nice example to illustrate my workflow. After making the rough DynaMesh sketch of the boot, I load a ZSphere into the scenery and draw, vertex by vertex, the geometry of the new leather parts directly onto the surface of this sketch. I use the same method to give the boots the desired geometry. Making the details is pure diligence work and a mixture of leather-alphas and the Slash3 brush. I use this method for each of the other parts and continue to work, repeating these steps for each item of clothing.

A good tip is to use layers when doing the details; one layer for the basic structure, one for the folds, one for scratches and rips, and one for the seams. It would be very annoying if you wanted to change the basic structure after having put everything on top of each other without using layers!

附件創(chuàng)建和細(xì)節(jié) - 工作流示例

靴子是一個(gè)很好的例子來(lái)說(shuō)明我的工作流程。 在制作粗糙的DynaMesh草圖后，我將ZSphere加載到風(fēng)景中，并將頂點(diǎn)，新皮革部件的幾何圖形直接繪制到此草圖的表面上。 我使用相同的方法給靴子所需的幾何。 制作細(xì)節(jié)是純粹的勤奮工作，以及混合的皮革alphas和Slash3刷。 我使用這種方法制作每個(gè)其他部分，并繼續(xù)工作，重復(fù)這些步驟為每件服裝。

一個(gè)好的提示是在做細(xì)節(jié)時(shí)使用圖層; 一層是基本結(jié)構(gòu)，一層用于折疊，一層用于劃痕和裂縫，一層用于接縫。 如果您希望在不使用圖層的情況下將所有內(nèi)容放在一起，就要更改基本結(jié)構(gòu)，這將非常煩人！

FiberMesh

The head also got a new topology and details. I used FiberMesh for the beard and the eyebrows; it was a bit of trial and error to find the right settings. I separated the beard into three segments to give each segment different hair length and thickness. With the use of masks you can fast and easily define these regions. I recommend playing around with the sharpness of the mask's edges to get a natural looking edge. Where the mask levels off, so does the FiberMeshes in length and thickness.

FiberMesh

頭部還有一個(gè)新的拓?fù)浜图?xì)節(jié)。 我用FiberMesh做胡須和眉毛; 找到正確的設(shè)置是一個(gè)試驗(yàn)。 我將胡須分成三段，以使每段不同的頭發(fā)長(zhǎng)度和厚度。 使用面具，您可以快速，輕松地定義這些區(qū)域。 我建議用面具邊緣的清晰度來(lái)玩弄自然的邊緣。 在掩模水平的地方，纖維長(zhǎng)度和厚度也是如此。

The mechanical hand

When designing the mechanical hand I needed to find something which fit the character but would not be too crude to carry out precision work. The approach is basically the same as before ? each part is made from a DynaMesh Sphere and gets a new topology before I start with the details. However, in this case I add one more working step. I assign different groups of polygons to the new topology before I add details. Then I use the Panel Loops feature to get a single object with material thickness from each group.

機(jī)械手

在設(shè)計(jì)機(jī)械手時(shí)，我需要找到適合人物的東西，但不能太粗糙地執(zhí)行精密工作。 這種做法基本上和以前一樣嗎？ 每個(gè)部分都是由DynaMesh Sphere制成的，在我開(kāi)始細(xì)節(jié)之前，先獲得一個(gè)新的拓?fù)浣Y(jié)構(gòu)。 但是，在這種情況下，我再增加一個(gè)工作步驟。 在添加詳細(xì)信息之前，我將不同的多邊形組分配給新的拓?fù)洹?然后我使用面板循環(huán)功能來(lái)獲取每個(gè)組中具有材料厚度的單個(gè)對(duì)象。

The fantastic ZModeler and the final mesh

Personally, this is the first project where I have had a bit more dealing with the ZModeler and it is truly exciting. Thanks to this tool I was able to create the complete geometry in ZBrush. The wrist, the tools, and the floating sphere were made from primitives through classic Boxmodeling and Dynamic Subdivision. I completely stinted on details in the surface for these parts to create them with Substance Painter later on. There is no particular reason for this it is just a different version of a workflow.

夢(mèng)幻般的ZModeler和最終的網(wǎng)格

就個(gè)人而言，這是我第一個(gè)處理ZModeler的項(xiàng)目，真是令人興奮。 感謝這個(gè)工具，我能夠在ZBrush中創(chuàng)建完整的幾何體。 手腕，工具和浮球是通過(guò)經(jīng)典的Boxmodeling和動(dòng)態(tài)細(xì)分制成的。 我完全站在表面上的細(xì)節(jié)，以便這些部分隨后用Substance Painter創(chuàng)建它們。 沒(méi)有特別的理由，這只是一個(gè)不同的工作流版本。

The final mesh

I used the Transpose Master Zplugin to pose the final Mesh. Since it is only a single image I left out complex Rigging and a resolution fit for animation. The UV-Layout of the individual parts were also made in ZBrush. The possibility to generate UV-islands from Polygroups made the process easy and simple. Where this was not enough I used "Control Painting" of the UV Master Zplugin. Eventually, I exported a high-poly version of each part to bake my maps in Substance Painter. In the majority of cases (especially with hard-surface parts) the outcome is much cleaner than the normal maps which I could export from ZBrush directly.

最終的網(wǎng)格

我使用了Transpose Master Zplugin來(lái)構(gòu)成最終的網(wǎng)格。 由于它只有一張圖像，所以我省去了復(fù)雜的索具和適合動(dòng)畫(huà)的分辨率。 各個(gè)部件的UV布局也在ZBrush中制作。 從Polygroups生成UV島的可能性使得該過(guò)程變得簡(jiǎn)單而簡(jiǎn)單。 如果這還不夠我使用UV Master Zplugin的“控制畫(huà)”。 最終，我導(dǎo)出了高分子版本的每個(gè)部分，以在物質(zhì)畫(huà)家中烘烤我的地圖。 在大多數(shù)情況下（特別是硬表面部分），結(jié)果比我可以直接從ZBrush輸出的正常地圖干凈得多。

Substance Painter

On the basis of the high-poly meshes I now let Substance Painter generate all the maps I need for texturing: AO, curvature and world space normals. Let me illustrate how I do this on two examples:

The skin gets:

A: a basic color

B: a layer with blemishes, irritations and veins

C: some shading where later on there will be hair and darker pores (a cavity map from ZBrush helps here)

D: color shades adequate to the different facial regions,

E: dirt and oil stains

Substance Painter

在高多邊形網(wǎng)格的基礎(chǔ)上，我現(xiàn)在讓物質(zhì)畫(huà)家生成所有需要紋理的地圖：AO，曲率和世界空間法線。 讓我舉例說(shuō)明我如何做兩個(gè)例子：

皮膚得到：

A：一種基本的顏色

B：有瑕疵，刺激和靜脈的層

C：一些陰影，稍后會(huì)有毛發(fā)和更深的毛孔（來(lái)自ZBrush的空心圖幫助這里）

D：適合不同面部區(qū)域的色調(diào)，

E：污垢和油漬

I want to show the construction of the clothing and the accessories exemplarily on the shoes:

A: a basic color

B: cloudy stains in the color and roughness channel for a natural look

C: discoloration of the leather in the depths and abrasion in the heights

D: a little correction of the color, a new material for the sole and seams

E: dust, sand and oil stains

Substance Painter offers many possibilities to mix materials with the help of previously created maps. In this case the curvature map helped to generate the abrasion and the world space normals to create the dust.

我想在鞋子上展示服裝和配飾的構(gòu)造：

A：一種基本的顏色

B：多彩的污漬，顏色和粗糙的通道，以自然的樣子

C：皮革的變色深度和高度的磨損

D：一點(diǎn)修正的顏色，一種新的材料為鞋底和接縫

E：灰塵，沙粒和油漬

物質(zhì)畫(huà)家提供了許多可能性，借助以前創(chuàng)建的地圖來(lái)混合材料。 在這種情況下，曲率圖有助于產(chǎn)生磨損和世界空間法線來(lái)產(chǎn)生灰塵。

Octane Render

I built the light setup in the HDR Light Studio starting with simple 3 point lighting, with some extra lights to emphasize individual parts. The base color map, roughness map and normal map control two glossy materials in Octane Render. One with an IOR of 1.5 (this can vary) and the other with 1. The metalness map controls the mixing ratio. Merely a cove serves as the background ... some bloom and glare... done!

Since Octane gives feedback promptly and renders live when creating materials, there is no virtuosic piling of render passes. I hope my little walkabout was helpful. If not, do not hesitate to drop me a line. I really appreciate comments, questions, suggestions and critique.

Octane渲染

我在HDR Light Studio中建立了燈光設(shè)置，從簡(jiǎn)單的3點(diǎn)照明開(kāi)始，還有一些額外的燈光來(lái)強(qiáng)調(diào)各個(gè)部分。 基礎(chǔ)顏色圖，粗糙度圖和法線貼圖控制Octane Render中的兩種光澤材料。 一個(gè)IOR為1.5（這可以變化），另一個(gè)與1.金屬圖控制混合比。 只有一個(gè)海灣作為背景...一些綻放和眩光...完成！

自從Octane在創(chuàng)建材料時(shí)立即給出反饋并提供實(shí)時(shí)渲染，沒(méi)有藝術(shù)性的渲染通道打樁。 我希望我的小步行是有幫助的。 如果沒(méi)有，請(qǐng)不要猶豫，放下我一條線。 我非常感謝評(píng)論，問(wèn)題，建議和批評(píng)。