“惡魔導(dǎo)師”的制作

這個項目是在我的業(yè)余時間創(chuàng)建的，它是基于Javier Burgos的概念。 我受到了他工作的啟發(fā)，決定挑戰(zhàn)自己，塑造他復(fù)雜的惡魔導(dǎo)師。 我從這個項目中學(xué)到了很多東西，我喜歡它！

This project was created in my spare time and it was based on a Javier Burgos concept. I was so inspired by his work and decided to challenge myself and model his complex Evil Advisor. I learned a lot from this project and I enjoyed it!

第1步：阻止模型

我做的第一件事就是分析我的概念，有時如果我發(fā)現(xiàn)很難擺姿勢，我就把它拆開，畫出正字法，但在這種情況下不是這樣的。我最近開始用簡單的圖元來模擬我的模型。 使用球體，圓柱體，圓錐體和更復(fù)雜的形狀，我使用ZBrush中的移動工具來獲得所需的形狀。

Step 1: Blocking the model

The first thing I do is analyze my concept and sometimes if I find it hard to pose them, I break it down and draw orthographic views, but not in this case. I recently started to block my models with simple primitives similar to drawing. Using Spheres, Cylinders , cones and for more complex shapes, I use the Move tool in ZBrush to achieve the desired shapes.

第2步：定義和優(yōu)化模型

阻塞基數(shù)后，我開始合并使用Dynamesh; 先是四肢，然后是腿，手，最后是頭部和軀干。 頭部看起來非常復(fù)雜的形狀，所以我決定把臉分成不同的區(qū)域，以便更好地控制。 最后，我開始為我的角色添加更多的細(xì)節(jié)，主要是作為占位符來看整個數(shù)字的正確比例。

Step 2: Define and refine the model

After blocking the base figure I start to merge using Dynamesh; first the limbs, then legs, hands and finally the head and torso. The head looks at first sight very complex in terms of shapes so I decided to break down the face into different areas for better control. Finally, I started to add more details to my character, mostly as placeholder to see the right proportion of the whole figure.

第3步：添加細(xì)節(jié)和配件

這個階段是非常關(guān)鍵的，因為我要添加的所有其他元素將基于這個最終形狀。 我知道這個襯衫應(yīng)該是完美的形狀，因為這件襯衫上面會有很多裝飾品，這對觀眾會產(chǎn)生巨大的影響。 我也知道那些裝飾品需要我的全部關(guān)注，才能使它們看起來干凈整潔。

Step 3: Add details and accessories

This stage is so critical because all other elements that I'm going to add will be based on this final shape. I knew the blouse should be perfect in terms of shapes because so many decorations would be on top of that blouse, which would make a huge impact on the audience. I also knew that those decorations would need my full attention in order to make them look crisp and clean.

第四步：裝飾襯衫

襯衫絕對是這個模特的重要組成部分，花了我很多工作。 為了裝飾我使用IMM頭發(fā)號碼04.我確定在刷子托盤按深度選項卡，并移動畫筆放置圈，以繪制在表面的頂部。 我也確保在筆畫托盤下使用“曲線”選項卡并按下“捕捉”對象。 然后我可以開始在襯衫上畫裝飾了。

我以我想要的方式使用手動操作將他們畫出來，并將“根”放在彼此的頂部。 我將球體和“根”導(dǎo)出到Maya中以合并頂點，并確保向模型中添加更多的循環(huán)，并使用邊緣流從該“根”的每個循環(huán)中創(chuàng)建合適的空間。

導(dǎo)入最后的網(wǎng)格并平滑。 完成！

Step 4: Decorating the blouse

The blouse was definitely a big part of the model and it took me a lot of work. For the decoration I use IMM hair number 04. I make sure in the brush pallet to press the depth tab and move the circle of the brush placement up in order to draw on top of the surface. I also make sure under the stroke pallet to use the Curve tab and press snap to object. Then I can start drawing the decorations on the blouse.

I drew them in the way that I wanted using manual manipulation and placing the "roots" on top of each other. I export the sphere and the "Roots" to Maya to merge the vertices and make sure to add more loops to the model, and use edge flow to make the right space from each loop on that "Root."

Import back the final mesh and smooth it out. Done !

Step 5: Clothes detailing

For the clothes I wanted to use surface noise, but then I realized that UVs are essential to have the best control of the flow of the fabric, and where the seam will be located.

1. Send the model to Maya

2. Unwrap the model with smart decision about where the seam will be

3. Find the texture of fabric on CGtexture.com and place it as it is to test the look of the fabric on the model

4. Send the model back to ZBrush with the UVs and subdivide the model for maximum resolution

5. Add the texture to the texture pallet and flip it vertically, then do Fill Object

6. Then go to the Masking tab and press Masking by Intensity and then inverse the mask

7. Use the inflate slider under the Deformation tab and see the result (I use 8)

8. Clear the mask and that's it! Sometimes the results are not that good and you have lots of pixels, so I go back and give one more subdivision or use the smooth slider for a softer look

This is what I did for all my clothes! It's a really efficient way, and you can see the number of options at the same time.

第5步：衣服的細(xì)節(jié)

對于我想要使用表面噪音的衣服，我意識到UVs對織物的流動以及接縫定位的位置至關(guān)重要。

1.將模型發(fā)送給Maya

2.精確地解開模型，確定接縫的位置

3.在CGtexture.com上查找織物的紋理，并將其放置在測試模型上織物的外觀

4.使用UV將模型發(fā)送回ZBrush，然后細(xì)分模型以獲得最大分辨率

5.將紋理添加到紋理托盤并垂直翻轉(zhuǎn)，然后執(zhí)行填充對象

6.然后去掩蔽選項卡，然后按強(qiáng)度掩蔽，然后反掩模

7.使用變形選項卡下的充氣滑塊并查看結(jié)果（我使用8）

8.清除面膜，就是這樣！有時結(jié)果不是很好，你有很多像素，所以我回去再給一個細(xì)分，或使用光滑的滑塊來一個更柔和的外觀

這就是我為我所有的衣服所做的！這是一個非常有效的方法，您可以同時看到多個選項。

第6步：紋理臉部

我將嘗試分解我的幾步紋理的步驟。 第一步將是面部和我如何紋理他。

1.我從原始圖像（淡綠色）采樣了第一個膚色，

我開始添加另一種淡紫色的主要膚色

3.我加了一些飽和的綠色深處或隱藏的地方（在鼻子下面，折痕）

4.添加更多的變化主要膚色，并嘗試添加更多的紫色/綠色

來自“簡明英漢詞典”我開始用深色的皺褶來加深這個區(qū)域，然后用較深的紫色/綠色來畫

6.最后，我開始給鼻子，耳朵和下巴添加更多的紅色和粉紅色，以及更溫暖的顏色

Step 6: Texturing the face

I will try to break down my steps for texturing into a few steps. The first step will be the face and how I approach texturing him.

1. I used the first skin tone by sampling from the original image (pale green)

2. I started to add another major skin tone which is pale purple

3. I added some saturated green to deep areas or hidden places (under the nose, creases)

4. Added more variation to the major skin tones and try to add more purple/green

5. I started to accentuate the area with deep creases and paint then with darker purple/green

6. Finally I started to add more reds and pinks, and more warm colors to the nose, chicks, ears and chin

第7步：詳細(xì)的臉

對于這一步，我通常使用不同筆畫和阿爾法手動多邊繪畫，第二種方式是我發(fā)現(xiàn)很容易的圖像，并可以在我的模型中創(chuàng)建很多變化。 我會告訴你我是如何創(chuàng)造出復(fù)雜和有趣的膚色。

首先，我在網(wǎng)上找到一些有很多變化的好圖片，然后將它們加載到紋理托盤中，使用DragRect和Alpha01以及我喜歡的其中一個紋理將畫筆更改為Standard（取消選中Zadd或Zsub），然后啟動 在我的模型上拖動這些紋理。

綠色/藍(lán)色紋理變化被放置在綠色區(qū)域，更多的紅色/粉紅色/黃色的溫暖區(qū)域，結(jié)合Polypaint模式，你可以輕松達(dá)到超過30種不同的變化5-6紋理。

Step 7: Detailing the face

For this step I usually use both manual poly painting with different strokes and alphas, and the second way is by images which I found very easy, and can create a lot of variation in my models. I will show you how I create complex and interesting skin tones in no time.

First I find on the web some good images with a lot of variation, then I load them into the texture pallet, change my brush to Standard (uncheck Zadd or Zsub) using DragRect with Alpha01, and one of the textures I like, and start to drag those textures on my model.

Green/blue texture variation was placed on the green area and more red/pink/yellow on the warm area, with a combination of Polypaint mode you can reach easily to more than 30 different variations with 5-6 textures.

第八步：對衣服進(jìn)行紋理處理

對于這些衣服，我并沒有試圖讓事情太復(fù)雜。 我認(rèn)為，在完成前幾步的努力之后，我將衣服上所有不同的圖案都進(jìn)行了詳細(xì)的描述，然后是基于概念藝術(shù)挑選顏色并添加到特定部位的時間。

Step 8: Texture the clothes

For the clothes, I didn't try to make something too complicated. I think after I did the hard work in the previous steps and detailed my clothes with all the different patterns of clothes, it was time to pick colors and add them to the specific parts based on the concept art.

我在這里展示大部分時間我的衣服質(zhì)地，在這個例子中我拿襪子。

1.從概念上采樣原始顏色，并給襪子相關(guān)的顏色

2.根據(jù)原始顏色挑選兩種較暗的顏色并在邊緣上繪畫

3.選擇兩個較亮的顏色，在中間畫一個很酷的漸變

4.我開始探索紋理，并嘗試打破對稱，并使用一些阿爾法來使紋理更有趣

5.最后，我使用Cavity Mask，從中心選擇一種顏色，并使用填充對象（我寧愿使用低值，如15，然后按兩次或三次），以獲得所需的外觀

6.在這一步中，你可以清楚地看到深紫色和亮紫色之間的過渡是如何占優(yōu)勢的

7.多次使用填充物體后，我感到更愉快

8.用KeyShot進(jìn)行最終渲染

I show here how I texture my clothes most of the times, in this example I take the socks.

1. Sample the original color from the concept and give the socks the relevant color

2. Pick two darker colors based on the original colors and paint around the edges

3. Pick two brighter colors and paint in the middle to make a cool gradient

4. I start to explore the texture and try to break the symmetry and use some alphas to make the texture more interesting

5. Finally I use Mask by Cavity, pick one color from the center and use fill object (I rather use a low value such as 15 and press twice or three times) to get the desired look

6. In this step you can clearly see how dominant the transition is between the dark purple and the bright purple

7. After using the fill object a couple times, I reach something more delightful

8. Final render with KeyShot

第9步：KeyShot照明設(shè)置

我用了兩年的KeyShot，并且對于渲染的外觀我有了很多的評論。 起初它需要我的時間，但后來我意識到設(shè)置好照明是多么容易在這里試圖解釋。 完成我的造型時，我做的第一件事就是將我的模型的高版本發(fā)送到KeyShot，并嘗試找到好的構(gòu)圖和漂亮的燈光！

我喜歡做一個主要的關(guān)鍵燈和一個輪輞燈（有時可以達(dá)到三個輪輞燈）取決于模型和我想要在最終圖像中捕捉的輪廓。 我用了很多東西之一是HDRI地圖從各個角度照亮我的模型，并作為補(bǔ)光燈的替代品。 我嘗試了很多種HDRI地圖，直到找到能給我的模型帶來好感的東西。 通常我會用一個黃色的高光（暖色），然后嘗試與淺藍(lán)色的邊緣光線產(chǎn)生鮮明的對比效果。

Step 9: KeyShot lighting setup

I used KeyShot for almost two years and I got a lot of comments about how my render looks. At first it takes me time but then I realize how easy to set good lighting will try to explain that here. The first thing I do when finishing my sculpt is to send a high version of my model to KeyShot and try to find good composition and nice lighting!

I like to make one dominant Key light and one Rim light (sometimes it can reach 3 Rim lights) depends on the model and the silhouette I want to capture in the final image. One of the things that I use a lot is HDRI map to illuminate my model from all angles and as replacement for fill light. I try many kinds of HDRI maps until I find one that gives a nice feel to my model. Usually I use one with yellow highlights (warm color) and then try to create contrast with light blue rim light for dramatic effect.

第10步：KeyShot材料和最終演示

良好的材料將把你的模型帶到下一個步驟，符合良好的照明。 這部分不是我急于求成的。 有時我可以花幾個小時甚至幾天來找到一些看起來很棒的東西。 一件重要的事是眼睛; 很多時候我試圖在正確的方向上找到好的HDRI，反射到眼睛并給予他們生命。 然后根據(jù)我給人品的好看，包括其他所有東西，包括手動移動我創(chuàng)建的燈光和材料。 這很耗費時間，直到你找到一個很好的平衡。

Step 10: KeyShot material and final presentation

Good materials will take your model to the next step, in line with good lighting. This part is not something that I rush. Sometimes I can spend hours and sometimes days to find something that looks great. One major thing is the eyes; a lot of the time I try to find good HDRI in the right direction that reflect on the eyes and give them life. And then I incorporate everything else according to the nice looks I give my character including manually moving the lights I created and materials. It's time consuming until you find a good balance between them.