制作“向日葵王子”

這個(gè)形象是一個(gè)個(gè)人項(xiàng)目，當(dāng)我看到Gop Gap概念時(shí)，我以為這是神奇的，我真的想在3D中做出這個(gè)角色。 在這個(gè)制作中，我將展示建模，紋理，燈光和后期制作的一部分來創(chuàng)建這個(gè)圖像。

This image is a personal project, when I saw the Gop Gap concept I thought it was magical, I really wanted to make that character in 3D. In this making of I will show the part of modeling, textures, light and post production to create this image.

Step 1: Modeling 01

I started modeling the character in ZBrush. I really like to start modeling a character in ZBrush because you get results pretty fast. It is very easy and practical to make design changes with ZBrush.

Whenever I start modeling a character, I use some artist images that I admire to help me make artistic choices like proportions and design.

步驟1：建模01

我開始在ZBrush中建模人物。 我真的很想開始在ZBrush中建模一個(gè)角色，因?yàn)槟愕玫降慕Y(jié)果非常快。 使用ZBrush進(jìn)行設(shè)計(jì)更改非常簡單實(shí)用。

每當(dāng)我開始建模一個(gè)角色時(shí)，我會(huì)使用一些我欣賞的藝術(shù)家圖片來幫助我做出比例和設(shè)計(jì)的藝術(shù)選擇。

Step 2: Modeling 02

After I had finished the blocking-in I exported the OBJ file into 3ds Max and started the retopology process using the Graphite modeling tools.

I used this tool to model the body of the character. The modeling of accessories and scenery were made poly by poly in 3ds Max.

步驟2：建模02

完成封鎖之后，我將OBJ文件導(dǎo)出到3ds Max中，并使用Graphite建模工具開始重新映射過程。

我用這個(gè)工具來模擬人物的身體。 配件和風(fēng)景的建模在3ds Max中由poly制成。

Step 3: Texturing and Shading 01

When I'm finished with the modeling, I export the character and other objects to make the UV.

To do this I use the UV Layout program, I really like using this program; it gives me good results quickly and is very efficient.

步驟3：紋理和著色01

當(dāng)我完成建模后，我導(dǎo)出字符和其他對(duì)象來制作UV。

要做到這一點(diǎn)，我使用UV Layout程序，我真的很喜歡使用這個(gè)程序; 它很快給我很好的效果，效率非常高。

Step 4: Texturing and Shading 02

I began creating the textures in ZBrush using Polypaint because it's an easy way to define the basic color variation directly on the 3D model. After this I exported the maps into Photoshop and started detailing them. In Photoshop I mix the base color I made in ZBrush, some photos and digital painting.

步驟4：紋理和著色02

我開始使用Polypaint在ZBrush中創(chuàng)建紋理，因?yàn)樗�是直接�?D模型上定義基本顏色變化的簡單方法。 之后，我將地圖導(dǎo)出到Photoshop中，并開始詳細(xì)說明。 在Photoshop中，我混合了在ZBrush制作的基色，一些照片和數(shù)字繪畫。

Step 5: Shading

When I have the textures ready, I start to do character shading. I chose V-Ray to do this project, I really like it. To make the character skin I used V-RayFastSSS2. For the other objects I used the basic material of V-Ray.

步驟5：陰影

當(dāng)我準(zhǔn)備好紋理時(shí)，我開始做角色陰影。 我選擇V-Ray做這個(gè)項(xiàng)目，我真的很喜歡。 為了使角色皮膚我使用V-RayFastSSS2。 對(duì)于其他物體，我使用V-Ray的基本材料。

Step 6: Hair and Fur

To do the hair and fur I used the Ornatrix Plugin. I duplicated the character and deleted the parts that would not have hair, so I apply the Ornatrix only where I want it to have hair. This was the first time I worked with Ornatrix, but I liked it a lot, there are many modifiers that speed up the process like the symmetry modifier.

步驟6：頭發(fā)和毛皮

做頭發(fā)和毛皮我用了Ornatrix插件。 我復(fù)制了這個(gè)角色，刪除了那些沒有頭發(fā)的部分，所以我只需要在它的頭發(fā)上涂上Ornatrix。 這是我第一次使用Ornatrix，但我很喜歡它，有很多修飾符加速過程像對(duì)稱修飾符。

Step 7: Lighting and Rendering

To make a lighting of this scene I used three rectangular V-Ray lights. The first is a main light simulating sunlight on top of the character, then one on the side of the character to help fill in and a finally a light for the background.

步驟7：照明和渲染

為了使這個(gè)場景照明，我用了三個(gè)矩形的V-Ray燈。 第一個(gè)是模擬人物頂部的陽光的主要光線，然后一個(gè)在角色的一側(cè)，以幫助填充和最后一個(gè)燈光的背景。

Step 8: Compositing

I render some passes like Reflection, Glossiness and SSS. Then I used Photoshop to work with these passes, make color adjustments and levels. To do the background I worked with some photos.

步驟8：合成

我渲染一些像反射，光澤和SSS的通行證。 然后我用Photoshop來處理這些通行證，進(jìn)行顏色調(diào)整和調(diào)整。 做一些背景，我做了一些照片。

Step 9: Final

I am very grateful to let me share the process. Thanks for reading!

第9步：最后的圖像

我非常感謝讓分享我的過程。 謝謝閱讀！