“西里雕像”的制作

喬瓦尼格雷科（Giovanni Grecco）通過ZBrush工作流程為巫師3人物Ciri制作武器和裝飾基地...

Giovanni Grecco takes us through the ZBrush workflow for The Witcher 3 character Ciri, the weapons, and an ornamental base...

選擇一個概念

這是一個最重要的過程，它可以在一個項目中定義你的成功或失敗，在你選擇一個概念之前，要有智慧和自我意識。如果你選擇了一個非常復(fù)雜的工作，但是非常艱苦，你必須成為一名先進(jìn)的藝術(shù)家，否則你最終會感到沮喪。在這個項目中，我決定挑戰(zhàn)自己，讓我從《巫師3》(The Witcher 3)中扮演我最喜歡的角色之一——Ciri，基于游戲中的第一尊雕像，并從DLC中使用她的替代服裝。

Choosing a concept

This is one of the most important processes, it can define your success or failure during a project, be wise and self-conscious of your level before you choose a concept. If you choose a very complex work that is awesome but very hard you have to be an advanced artist, otherwise you'll end up frustrated and with a project "in your drawer." On this project I decided to challenge myself to make one of my favorites character from "The Witcher 3," Ciri, based on Prime 1 statues from the game, and using her alternative costume from the DLC.

收集參考資料

這一步在項目中也扮演著重要角色。找到盡可能多的參考。在你的身邊有各種各樣的參考是很重要的，這樣你就可以做一個與你的概念非常相似的工作，也可以是可信的和功能性的。我通常在黑板上收集圖像，這樣我就可以瀏覽它，找到我需要的參考資料。我建議你去看看一個叫做PureRef的程序，它很神奇，在我把所有的參考資料放在一起的時候，你可以用你想要的方式來組織它。

Gathering References

This step plays a big role in the project too. Find as many references as you need. It's important to have all sorts of references on your side so you can make a work that is very similar to your concept, believable and functional as well. I usually gather images on a board, so I can navigate through it and find the reference I need. I recommend you check out a program called PureRef, it's amazing and helps a lot when I put all my references together, you can organize it exactly the way you want.

性格封鎖

當(dāng)一切都設(shè)置好后，我打開ZBrush，開始封鎖雕像。有很多方法可以開始，但我喜歡從一個使用dynamesh的球體開始，以獲得所有的形式和比例，這樣我就可以移動到附件。在ZBrush上使用提取函數(shù)是我的首選項，用來制作基本的服裝和一些道具。但當(dāng)我需要一些非常堅硬的表面時，我就會轉(zhuǎn)向Maya。在這個步驟中，您應(yīng)該有一個開始的基本模型，所有的東西都被阻塞了。

Character block-out

When everything is set up, I open ZBrush and start to block out the statue. There are many ways to start, but I prefer to start from a sphere using dynamesh to get all the forms and proportions right so I can move on to the accessories. Using the extract function on ZBrush is my go-to option to make the base clothing and some props. But when I need something that's very hard surface I move on to Maya. In this step, you should have a base model to start, with everything blocked out.

定義姿勢

當(dāng)我在做一個收藏的雕像時，我需要把它做成一個很酷的姿勢，在這個步驟中有一個以上的選項很好，這樣你就可以決定哪一個更好�？紤]到雕塑的平衡，對比，剪影和動力學(xué)，我把我的姿勢畫出來。它不需要非常干凈和精煉，它只會作為未來步驟的參考。在ZBrush的轉(zhuǎn)置主工具是你的朋友，使用它!當(dāng)你定義它的時候，你可以繼續(xù)下一步。

Defining the pose

When I'm doing a collectible statue, I need to make it on a very cool pose, it's nice to have more than one option in this step, so you can decide which one is better. Thinking of the statue balance, contrapposto, silhouette and dynamics, I block out my pose ideas. It doesn't need to be very clean and refined, it'll only serve as a reference for a future step. The Transpose Master tool in ZBrush is your friend here, use it! When you define it, you can move on to the next step.

字符細(xì)化

當(dāng)我決定我的姿勢時，我可以回到t型的角色，開始完善所有在我擺姿勢時不會被完全修改的東西。幾乎所有的對稱和堅硬的表面我都可以在這個階段進(jìn)行提煉。請記住，這是一尊雕像，所以當(dāng)你擺姿勢的時候，褶皺必須被調(diào)整，很多作品都必須與模特的姿勢相適應(yīng)。如果這個物體在姿態(tài)過程中沒有劇烈變化，那么在這個步驟中做UVs也是一個好主意。

Character refinement

When I decide my pose, I can go back to the T-pose character and start to refine everything that's not going to be completely modified when I pose it for real. Pretty much everything that's symmetrical and hard surface I can refine in this stage. Keep in mind that this is a statue, so when you pose it, folds will have to be adapted, and a lot of work will have to be made with the model posed. It's a good idea to make UVs in this step too, again, if the object doesn't change drastically in the pose process.

飾品

Ciri，我不得不做很多裝飾品。這可能很棘手，但隨著時間的推移，你會習(xí)慣的。在UVs的定義下，我將一個快照導(dǎo)出到Photoshop，并開始在它上面使用畫筆工具，只使用黑色和白色的值將其作為alpha輸出到ZBrush。我推薦一款名為“Lazy Nezumi”的應(yīng)用程序，它在ZBrush上像懶蟲一樣工作。將黑白文件導(dǎo)入到ZBrush(垂直翻轉(zhuǎn))中，選擇你的子工具，通過alpha >掩碼進(jìn)行掩蔽和選擇掩碼，然后使用變形>充氣，僅此而已!

Ornaments

On Ciri, I had to do a lot of ornaments. It can be tricky, but with time you'll get used to it. With UVs defined, I exported a snapshot to Photoshop and started working on top of it using the brush tool with just black and white values to export it as an alpha to ZBrush. I recommend an app called Lazy Nezumi to Photoshop, it works like lazy mouse on ZBrush. Import the black-and-white file as an alpha inside ZBrush (flip vertically), select your SubTool, go to Masking and select Mask by Alpha > Mask by Alpha, then use Deformation > Inflate and that's it!

最后的姿勢和細(xì)化

經(jīng)過第一次的細(xì)化之后，我會以更加耐心的態(tài)度和時間擺出我的模型，確保盡可能的干凈，并遵循姿勢概念的參考。 一些損害會發(fā)生，你不能避免，但這就是為什么你不能浪費時間精煉上一步將被損壞的東西。使用ZRemesher,Dynamesh,re拓?fù)鋱D，所有你需要修復(fù)的網(wǎng)格，然后再在上面雕刻，在姿態(tài)上精煉它。在這一步之后，你的雕像應(yīng)該已經(jīng)準(zhǔn)備好了。。

Final pose and refinement

After the first pass on the refinement, I pose my model, this time with more patience and taking my time, make sure to make it as clean as possible and follow your reference from the pose concept. Some damages will occur, you can't avoid it, but that's why you can't waste time refining something on the previous step that will be damaged on this one. Use ZRemesher, Dynamesh, retopology, all you need to fix the mesh, then sculpt on top of it again, refining it on the pose. After this step, your statue should be ready to be detailed.

頭發(fā)

頭發(fā)也是重要的一步;我不會太深入，因為它可以是一個單獨的教程。一般來說，我拿起塊上的頭發(fā)，完成了它的輪廓和主要形式，然后我添加了一堆用于3D打印的頭發(fā)插入網(wǎng)格，你可以在互聯(lián)網(wǎng)上找到很多這些刷子，但這并不難制作你自己的。在我放了第二把頭發(fā)之后，我用Alpha 39和200的Dam標(biāo)準(zhǔn)填充缺失的部分，放在Lazy Mouse Radius上。

Hair

Hair is an important step too; I will not get too deep in this making of because it can be a single tutorial of its own. In general, I picked up the hair made on the block out and finished its silhouette and primary forms, then I added a bunch of hair insert meshes for 3D print, you can find a lot of these brushes on the internet, but it's not difficult to make your own. After I placed the secondary hair I filled up the missing parts with Dam Standard with Alpha 39 and 200 on Lazy Mouse Radius.

人物的細(xì)節(jié)

這就是萬物生機盎然的地方�；�點時間詳細(xì)描述一下你的模型，這是一個看起來很棒的雕像的關(guān)鍵步驟。不要只使用一個表面噪音，它看起來會是假的。將一些alphas，細(xì)節(jié)放在它的上面，手動，損壞，洞和一些額外的缺陷到表面是讓它看起來像真實的東西。我唯一推薦的細(xì)節(jié)是，當(dāng)?shù)裣袢匀皇菍ΨQ的時候，那就是皮膚，因為我喜歡用alphas從表面模擬和變形XYZ手工制作它�，F(xiàn)在只剩幾步路了!

Character details

This is where things come alive. Take your time to detail your model, it's a key step to an awesome looking statue. Don't use only one surface noise alpha, it will look fake. Mix some alphas, detail on top of it manually, damages, holes and some extra imperfections to the surface is the secret to make it look like a real thing. The only thing I recommend detailing when the statue is still symmetrical is the skin, because I like to make it manually using alphas from Surface Mimic and Texturing XYZ. There are only a few steps left now!

制造基地

在一個收藏項目中，我把這個基礎(chǔ)看作是“第二個角色”;它擁有之前的所有心態(tài)，目標(biāo)是像Prime 1這樣的公司，那里的基礎(chǔ)非常詳細(xì)。你需要花大量的時間來讓它看起來很好，匹配品質(zhì)。遵循同樣的邏輯，屏蔽基礎(chǔ)，完善它，詳細(xì)說明它。底座和姿勢需要互相交談，他們將定義雕像的組成和輪廓。另外，基地是一個很好的來講述雕像后面歷史的地方。

Making the base

I see the base as a "second character" during a project for collectibles; it has all of the previous mindset on it, aiming for a company like Prime 1 where bases are very detailed. You'll need to spend a great amount of time on it to look good and match the character quality. Follow the same logic here, block out the base, refine it, detail it. The base and the pose need to talk with each other, they will define the statue composition and silhouette. Also, the base is a nice place to tell the history behind the statue.

準(zhǔn)備打印

現(xiàn)在是時候?qū)⒛Ｐ筒眉舫?D打印了。當(dāng)一個模型被打印出來的時候，它看起來就像一個“樂高”，在最后的生產(chǎn)過程中會有很多分開的部件組裝起來。當(dāng)你剪斷一個模型時，要記住鑄件的材質(zhì)，切割的地方，畫的過程和零件的尺寸。根據(jù)你所工作的公司，首席工程師會要求你以一種具體的方式來切割模型，所以當(dāng)你在做一個個人項目時，不要過于擔(dān)心。

Preparing to print

It's time to cut out the model to 3D print it. When a model is printed it will look like a "LEGO", with a lot of separated parts to assemble during the final production. When you cut out a model keep in mind the kind of material the casting is going to be, the place of cutting, the painting process and the size of the part. Depending on which company you are working, the lead engineer will ask you to cut the model on a specific way, so don't worry too much when you are doing a personal project.

ZBrush 4R8 Live布爾值

Live ZBrush 4R8上的布爾是一個很棒的工具！ 它可以在切割過程中節(jié)省大量的時間，只需在“男性”部分放置一個鍵，在你想要的SubTool上檢查減號圖標(biāo)，打開活性布爾值檢查出來，然后進(jìn)入SubTool> Boolean >使布爾網(wǎng)格，它會在幾秒鐘內(nèi)給你一個完美的“女性”布爾網(wǎng)格！

ZBrush 4R8 Live Boolean

Live Boolean on ZBrush 4R8 is an awesome tool! It can save a great amount of time during the cutting process, just place a key on the "male" part, check the subtraction icon on the SubTool you want, turn the live Boolean on to check it out and then go to SubTool > Boolean > Make Boolean Mesh, it will give you a perfect "female" Boolean mesh in seconds!

渲染模型

這最后一步是完全可選的，但在個人項目上很好地展示了雕像的外觀。我選擇的渲染引擎是Marmoset工具包3，我已經(jīng)很有信心了。我在ZBrush中對模型進(jìn)行了紋理化，當(dāng)我將模型大量使用時，保留了UVs，并在Marmoset中設(shè)置了最終的decimated網(wǎng)格，然后我創(chuàng)建了著色器。它為模型和您的項目提供了良好的完成!

Rendering the model

This final step is completely optional, but it's nice on a personal project to give a glimpse of what the statue would look like produced. My choice of render engine was Marmoset Toolbag 3 which I'm already confident working with. I textured the model in ZBrush basically, kept the UVs when I decimated the model and set the scene inside Marmoset with the final decimated meshes, then I created the shaders. It gives a nice finish to the model and your project!