《小戰(zhàn)士》的制作

概念

當(dāng)我看到挑戰(zhàn)簡報的時候，我打算做一個巨大的肌肉人物，創(chuàng)造一些概念藝術(shù)。 然而這對我來說似乎太平常了，而且也不是獨一無二 我想創(chuàng)造一些新的東西，所以我不再畫出肌肉發(fā)達的角色，并且提出了南部非洲土著人民的一些概念。 他們不是特別強壯，沒有任何強硬的武器，但我覺得他們是勇士。

我為一個生活在一個小世界里的角色制造了一個粗略的概念，并且把一個小動物或者昆蟲投入戰(zhàn)斗。 然后我有了使用寄居蟹和其他海洋生物的想法。 他們有非常好的細節(jié)，我想在圖像中顯示不同的材料，如皮膚，木材，貝殼等。

Concept

When I saw the challenge brief I intended to make a huge muscular character and created some concept art along these lines. However this seemed too ordinary to me and not unique. I wanted to create something new, so I quit drawing muscular characters and came up with some concepts of the indigenous people of southern Africa. They are not particularly muscular and don't have any tough weapons, but I feel they are warriors nevertheless.

I created a rough concept for a character living in a small world and riding a small animal or insect into battle. I then had the idea of using a hermit crab and other sea creatures. They have really nice details and I wanted to show different materials in the image such as skin, wood, shell, etc.

雕刻殼的概念

首先，我試圖用一個非常粗糙的基底網(wǎng)做一個螃蟹殼的概念造型。它在雕刻方面沒有很好的拓撲結(jié)構(gòu)，但是在這個階段并不重要，因為我打算使用TopoGun對網(wǎng)格物體進行retopologization。在完成這個概念之后，我將這個模型導(dǎo)入TopoGun并做了逆向工程。我使用Mudbox將概念細節(jié)轉(zhuǎn)移到一個新的拓撲模型，并做了一些調(diào)整。在這個新的模型上，我雕刻了非常細小的細節(jié)，因為它具有清晰的拓撲和UV（圖01）。

Concept Sculpting the Shell

First I tried to do a concept sculpt for the crab's shell using a really rough base mesh. It didn't have great topology for sculpting, but it didn't matter at this stage because I intended to retopologize the mesh using TopoGun. After finishing the concept I imported the model into TopoGun and did the retopology. I transferred the concept details onto a new topology model using Mudbox and did some tweaking. On this new model I sculpted the really tiny details because it had clean topology and UVs (Fig.01).

圖01

塑造螃蟹的身體

第二步是用我在外殼上使用的方法來雕刻寄居蟹的身體。然后，我將這兩部分組合在一起。 至于他們的UV，我使用了Roadkill UV和Maya（圖02）。

Sculpting the Crab's Body

The second step involved sculpting the hermit crab's body using the same method as I used on the shell. I then combined the two parts in Mudbox. As for their UVs, I used Roadkill UV in conjunction with Maya (Fig.02).

圖02

姿勢和布局

接下來，我嘗試將所有模型組合到同一個Mudbox場景中（圖03）。 Mudbox具有非常好的預(yù)覽功能（照明，陰影，過濾等），還允許您檢查法線貼圖。 我沒有使用高分辨率模型，因為預(yù)覽高分辨率陰影貼圖的所有模型非常密集。 相反，我用普通地圖的低分辨率模型進行構(gòu)圖和布局檢查。

Pose and Layout

Next I tried to combine all of the models into the same Mudbox scene (Fig.03). Mudbox has really nice preview features (Lighting, Shadowing, Filtering and so on) and also allows you to check Normal maps. I didn't use a high res model because it was really intensive to preview all the models with high res Shadow maps. Instead I used a low res model with Normal maps for posing and layout checking.

圖03

雕刻戰(zhàn)士的概念

對于戰(zhàn)士的身體，我像往常一樣開始以概念造型作為基本姿勢。 然后我采用了和以前一樣的方法做了重新拓撲，從他的臉開始，然后擺出身體。 然而，在這個階段，我才使用Mudbox繪制了一個線框，然后再進行多邊形的重構(gòu)（圖04）。

Concept Sculpting the Warrior

For the warrior's body I started with a concept sculpt as the base pose, as usual. I then did some retopology using the same method as before, starting with his face before posing the body. However it was only during this stage that I painted a wireframe using Mudbox before retopologizing, a technique that is really helpful for re-building polygons (Fig.04).

圖04

雕刻和渲染測試

在重建后，我將概念細節(jié)轉(zhuǎn)移到一個新的模型上，并對其他部分進行調(diào)整和雕刻。 完成所有雕刻后，我使用mental ray和矢量位移貼圖進行了一些渲染測試。我無法辨認出任何重大問題，所以宣布雕塑完成(圖05)。

Sculpting and Rendering Tests

After the retopology work I transferred the concept details onto a new model and also tweaked and sculpted other parts. Finishing all the sculpting I carried out some rendering tests using mental ray and a Vector Displacement map. I couldn't identify any major problems so declared the sculpting complete (Fig.05).

圖05

繪畫

我用Mudbox開始繪畫。 它有很多的油漆和圖層功能，這使得它很容易在你的模型上繪畫。 對于每個微小的細節(jié)都很難使用位移貼圖，我認為這是不必要的，所以我使用了凹凸貼圖。 在這個階段我制作了漫反射，反射，光澤，凹凸和AO圖（圖06）。

Painting

I used Mudbox to start painting. It has a lot of paint and layer features, which makes it very easy to paint on your model. It was difficult to use a Displacement map for every tiny detail, which I believe is unnecessary, so I used Bump maps instead. I made Diffuse, Specular, Gloss, Bump and AO maps during this stage (Fig.06).

圖06

渲染和合成

渲染是通過線性工作流程和mental ray來完成的，每個通道都導(dǎo)入到Toxik進行合成。 Toxik支持一個節(jié)點系統(tǒng)，因此構(gòu)建并允許訪問您的電路圖非常容易。 創(chuàng)建景深（DOF）非常簡單，您可以看到并調(diào)整深度和模糊范圍設(shè)置。

Rendering and Compositing

The rendering was done via linear workflow and mental ray, with each pass imported into Toxik for the compositing. Toxik supports a node system, so is really easy to build and allow access to your schematic. To create the depth of field (DOF) is just as easy and you can see and adjust the Depth and Blur Range settings.