制作“小女孩”

這是一個(gè)個(gè)人項(xiàng)目，是在我的業(yè)余時(shí)間創(chuàng)建的。它是基于一個(gè)偉大的薩爾瓦多拉米雷斯的概念。在這篇文章的制作過程中，我將介紹我是如何塑造這個(gè)角色的。我非常喜歡這個(gè)項(xiàng)目，希望你們能從本教程中得到一些信息!

This image is a personal project, and was created in my spare time. It was based on a great Salvador Ramirez concept. In this making of article I will go through my process showing how I made the character. I enjoyed this project a lot and I hope you guys get some information from this tutorial!

概念

開始一個(gè)新項(xiàng)目時(shí)，第一步是選擇一個(gè)有吸引力和優(yōu)雅的概念。我不會(huì)選擇那些不能100%說服我的項(xiàng)目，因?yàn)槲視?huì)在這些項(xiàng)目上工作幾天或幾周，如果他們沒有激勵(lì)我，我最終會(huì)讓他們沒有完成，或者質(zhì)量水平不高達(dá)不到標(biāo)準(zhǔn)桿

一旦這一點(diǎn)清楚了，在開始建模之前，我分析一下我面前的角色。我把這個(gè)模型分解成幾部分，考慮到比例和主要數(shù)據(jù)。

The concept

When starting a new project, the first step is to choose an attractive and elegant concept. I do not choose projects that do not convince me 100% because I will be working on them for several days or weeks, and if they do not motivate me I will end up leaving them unfinished, or with a level of quality that will not be up to par.

Once this point is clear, before starting to model, I analyze the character that I have in front of me. I dissect the model into parts, taking into account the proportions, and main volumes.

基礎(chǔ)網(wǎng)格

第一步是創(chuàng)建模型的基本網(wǎng)格。我在3ds Max中創(chuàng)建了主體，然后傳遞給了ZBrush。在那里，我用Spotlight工具放置了背景概念，并更精確地調(diào)整了比例。

The base mesh

The first step is to create a base mesh of the model. I started the main volumes of the body in 3ds Max, and after passed it across to ZBrush. There I placed the background concept with the Spotlight tool and adjusted the proportions more precisely.

建模頭部

角色的頭部是比例的一半。這是一個(gè)非常卡通的模式，而面孔對(duì)于表達(dá)人物的個(gè)性至關(guān)重要。 ZBrush中的雕刻是我創(chuàng)作角色時(shí)最享受的部分，它讓您擁有自由和造型速度，使得任務(wù)變得更加輕松，而且在制作傳統(tǒng)雕塑時(shí)，它更受到重視。首先我建模了臉部，然后是頭部的其他部分，比如頭發(fā)，眉毛，眼鏡等等，然后我用了一些彩色涂抹了一些顏色。

Modeling the head

The head of the character is half the character in proportion. It is a very cartoony model, and the face has a vital importance to convey the character's personality. The sculpting in ZBrush is the part that I enjoy the most when creating characters, it allows you a freedom and a modeling speed that makes the task much easier, and it is valued even more when you make traditional sculptures. First I modeled the face and then the rest of the elements of the head, such as hair, eyebrows, glasses, and so on... and then I applied some color with polypaint.

建模身體和配件

一旦頭部被雕，我開始雕刻身體，在這種情況下，手臂和腿，我只需要定義手。對(duì)于服裝和其他配件，我從基本原始材料（如球體和圓柱體）開始，再細(xì)分為添加多邊形分辨率。我繼續(xù)雕刻，直到我達(dá)到最后的形狀。

我尋找非常柔軟的形狀，在模型的輪廓上不會(huì)產(chǎn)生太多噪音，因?yàn)樵谶@種類型的角色中，它是最重要的。為了減輕背包的壓力，我在“噪音”窗口中應(yīng)用了預(yù)設(shè)的插件。

Modeling the body and accessories

Once the head was sculpted, I started sculpting the body, in this case the arms and legs, where I only have to define the hands. For clothing and other accessories I started from basic primitives such as spheres and cylinders, and subdivided to add polygon resolution. I continued to sculpt until I reached the final shape.

I look for very soft shapes that do not generate much noise in the silhouette of the model, as in this type of character it is paramount. For the relief of the backpack I applied a preset of the plugins that are inside the Noise window.

構(gòu)成模型

角色的姿勢(shì)對(duì)于傳達(dá)角色的個(gè)性非常重要。在單獨(dú)的SubTools中包含如此多的元素將是一件繁瑣的工作，但幸運(yùn)的是，在ZBrush中，SubTool Master插件能夠統(tǒng)一整個(gè)網(wǎng)格，并以更舒適的方式構(gòu)成角色。

Posing the model

The pose of the character is important to convey the personality of the character. It would be a tedious task to have so many elements in separate SubTools, but luckily in ZBrush is the SubTool Master plugin, to be able to unify the entire mesh and pose the character in a more comfortable way.

照明和陰影

為了照亮場(chǎng)景并應(yīng)用材料，我使用了KeyShot，環(huán)境照明和模型更加自然，使用HDRI圖像和一些燈光來對(duì)場(chǎng)景進(jìn)行對(duì)比。

材料是標(biāo)準(zhǔn)的模型，和玻璃的魚缸。

Lighting and shading

To illuminate the scene and apply materials I have used KeyShot, the lighting of the environments and the model is more natural with an HDRI image and some lights to apply contrast to the scene.

The materials are standard for the model, and glass for the fish tank.

最終形象

最后，在Photoshop中，我創(chuàng)建了最終的作品，應(yīng)用了不同的KeyShot渲染過程并應(yīng)用了一些最終的值和顏色調(diào)整。

Final image

And finally, in Photoshop I created the final composition, applying the different KeyShot rendering passes and applying a few final value and color tweaks.