敘事教程:制作“亡靈之神”

步驟1:參考

也許不像情緒板那么重要。我只在我的顯示器上有一些參考資料，如果我在做一些特定的東西，比如繪畫或現(xiàn)實世界中的物體。大多數(shù)時候，我都在編輯我想要的圖片，或者僅僅是一些靈感，然后我就會把它們放在一邊。否則我就會過度依賴這些圖像，而不是去探索不同的想法，讓我的想象力發(fā)揮作用。

Step 1: Reference

Well maybe not reference so much as mood board. I only have references up on my monitor if I'm modeling something specific i.e. from a painting or real world objects. Mostly I compile images of the mood I want or just some inspiration which I'll look at then put away. Otherwise I find myself relying on those images too much, instead of exploring different ideas and letting my imagination work.

步驟2:塑造男人

從一個簡單的dynameshed基地網(wǎng)格開始，我開始雕刻這個男人。在雕刻的早期階段，Masking，Move，Dam_standard和Clay_buildup畫筆是最主要的畫筆。實際上我用的大部分雕刻都是這樣。移動筆刷的輪廓，Dam_standard在我想要我的表單去的地方“繪制”，而clay_UNK來做這些表單。然后沖洗,重復。

Step 2: Sculpting the man

Starting with a simple dynameshed base mesh I begin to sculpt the man. In the early stages of the sculpt the Masking, Move, Dam_standard, and Clay_buildup brushes are the go-to brushes. Actually for the majority of the sculpt that's all I use. The Move brush to get silhouette, Dam_standard to "draw" in where I want my forms to go, and Clay_buildup to make those forms. Then rinse and repeat.

步驟3:雕刻亡靈之神

使用ZBrush的dog ztool作為亡靈之神的跳躍點，我在木乃伊上使用相同的刷子/程序。牙齒是通過使用插入球刷的移動和蛇鉤創(chuàng)造的。在移動筆刷(或蛇鉤)上打開“AccuCurve”功能，有助于把網(wǎng)孔拉到一個尖尖的牙齒上。衣領是插入的立方體，dynameshed使用移動筆刷。為了創(chuàng)建領飾，我掩蓋了我想要的地方，做了一個“提取”。

Step 3: Sculpting Anubis

Using the dog ztool that comes with ZBrush as a jumping off point for Anubis, I use the same brushes/process on the mummy. The teeth are created by using the insert sphere brush along with Move and Snake Hook. Turning on the "AccuCurve" feature on the Move brush (or Snake Hook) helps pull the mesh to a point for making sharp teeth. The collar is an inserted cube, dynameshed and used with the Move brush. To create the bands I masked off where I wanted them and did an "extract."

步驟4：涂色

接下來，我對這個模型進行了涂色。從皮膚的顏色開始，我接著開始臉上的顏色區(qū)域：眼睛、嘴巴、鼻子、耳朵周圍的紅色。骨骼接近表面的泛黃區(qū)域。 在眼睛和靜脈上添加一些藍色。起初看起來有點卡通化，但增加背部皮膚的色調(diào)將它往后推，創(chuàng)造出一種令人信服的外觀。和雕塑一樣，它是一個漂洗和重復的過程。

我用來繪畫的畫筆只是在彩色噴霧模式下的標準畫筆，有時使用stock alphas。 對于亡靈之神來說，這是一種稍微不同的方法，盡管如此。 在不同的細分層次上使用蒙版腔體，平滑度和峰谷，我可以得到一些有趣的圖案來繪制。 作為最后一個雕塑細節(jié)，我用象形文字創(chuàng)造了一個阿爾法，并將其應用于領子。

Step 4: Polypainting

Next I polypaint the model. Starting with a skin tone fill I next start to the color zones of the face: red around the eyes, mouth, nose, ears. Yellowing areas where the bone is closer to the surface. Add some blue around eyes and on the veins. It looks cartoonish at first but adding back skin tone pushes it back and creates a believable flesh look. And like with the sculpting it's a rinse and repeat process.

The brush I use for painting is just the standard brush in color spray mode, sometimes using the stock alphas. For Anubis a slightly different approach, same brush though. Using mask cavity, with smoothness, and peaks and valleys at different subdivision levels, I am able to get some interesting patterns to paint. And as one last sculptural detail I create an alpha out of hieroglyphics and apply it to the collar.

步驟5：在KeyShot中設置

在ZBrush中使用KeyShot bridge之前，我做了一些事情。 首先，我創(chuàng)建三個平面ztools將被用作燈光; 第二我把我的材料切換到Skinshade4。 然后使用ZBrush / KeyShot bridge將模型發(fā)送到KeyShot。 然后我選擇一個HDRI，并將其設置為大約一半的亮度。這三個平面ztools在不同強度(瓦特)的情況下得到了適用于它們的區(qū)域光散射材料。亡靈之神，木乃伊和牙齦全部接受透明（高級）材料，而牙齒和眼睛接受高級材料。 領子是黃金和塑料材料的組合。 渲染設置是沒有什么奇特的，只是一個透明的PSD與clown pass通行證。

Step 5: Set up in KeyShot

Before using the KeyShot bridge in ZBrush, I do a couple things. First I create three plane ztools that will be used as lights; second I switch my material to Skinshade4. Then using the ZBrush/KeyShot bridge I send the model into KeyShot. I then choose a HDRI and set it to about half brightness. The three plane ztools then get the area light diffuse material applied to them at different intensities (in watts). The Anubis, mummy, and gums all receive the Transparent (advanced) material, while the teeth and eyes receive the advanced material. The collar is a combination of a gold and plastic material. The render settings are nothing fancy, just a transparent PSD with a clown pass turned on.

步驟6：KeyShot通行證

當我得到我的美麗和小丑通行證后，我再抓住一些。我再抓幾個。我將白色的漫反射材料應用到整個模型中，以獲得一個AO類型的通行證。 接下來，我將黑色的高級材料應用于平滑鏡面; 有時我會調(diào)整燈光，以確保規(guī)格達到我想要的范圍。然后我把所有這些都導入Photoshop。

Step 6: KeyShot Passes

After I get my beauty and clown pass, I grab a couple more. I apply a white diffuse material to the entire model for an AO type pass. Next I apply an advanced material in black with a smooth specular; sometimes I'll adjust the lighting here to make sure the spec is hitting the areas I want. Then I bring all these passes into Photoshop.

步驟7:用Photoshop結束

在Photoshop中，我結合了通行證，AO(ish) 通道設置為乘，而Specular設置為減輕混合模式。我想要在嘴巴和眼睛周圍濕潤的地方涂上一層面罩。然后我添加一些紋理。在木乃伊和亡靈之神的肉質(zhì)部分上，我用一張人嘴的內(nèi)部照片，用一層面罩和一層顏料在我想要展示的地方涂上一層柔和的光。這同樣適用于其他的Anubis，但使用的是藍色的grunge紋理。用一個簡單的圓刷我畫了一些靜脈在兩個頭部之間的連接。我使用一個免費的Photoshop插件，叫做“Nik Collection”， 用于后期效果。這是一個很棒的免費工具，有各種各樣的濾鏡和相機效果。一旦我發(fā)現(xiàn)了一些效果，我將它們應用到圖像中，并添加一個小的小插圖，然后調(diào)用它!

Step 7: Wrapping up in Photoshop

In Photoshop I combine the passes, the AO (ish) pass is set to multiply and the Specular is set to Lighten blend modes. I put a layer mask on the Spec pass and paint in the areas I want to be wetter around the mouth and eye. Then I add some textures. On the mummy and the fleshy parts of Anubis, I use a photo of the inside of someone's mouth, set to soft light with a layer mask and paint where I want it to show. The same goes for the rest of Anubis but using a blue grunge texture. Using a simple round brush I paint some vein looking connections between the two heads. I use a free Google plugin for Photoshop called "The Nik Collection" for post effects. It's an awesome free tool that has all sorts of filters and camera effects. Once I find some effects I like, I apply them to the image and add a slight vignette, then call it done!