《血親兄弟》的制作（一）

介紹

這張圖片背后的想法最初是在2005年構(gòu)思的，我將它命名為“血親兄弟”（圖01）。

Introduction

The idea behind this image was originally conceived back in 2005 and I named it Brothers In Blood (Fig.01).

Fig.01

圖.01

《血二兄弟》是為Sol90出版發(fā)行的。他們需要的是Carnotaurus - Sastrei Diorama恐龍，這對(duì)我來說是一次絕佳的機(jī)會(huì)，讓我重新審視我的舊作品，并加以改進(jìn)。對(duì)于我來說，這是一個(gè)有趣的創(chuàng)造性體驗(yàn)，因?yàn)槲夷軌蚩吹轿乙呀?jīng)進(jìn)化了多少，以及我使用的軟件在不到7年的時(shí)間里如何發(fā)展。

在這個(gè)制作過程中，您將會(huì)看到我用來創(chuàng)建最新的古代主題插圖的方法（圖02）。

Brothers In Blood II was created for Sol90 Publishing. They needed Carnotaurus Sastrei Diorama dinosaurs, which was a perfect opportunity for me to revisit one of my old creations and improve upon it. It was an interesting creative experience for me as I was able to see just how much I've evolved, and how the software I use has as well, during little less than a seven year time span.

In this Making Of you will be given an insight into the methods I used to create one of my latest paleo-themed illustrations (Fig.02).

Fig.02

圖.02

造型

與原始圖像不同，我使用3ds Max和盒子建模方法，這些新的Carnotaurus使用ZBrush 4R2雕刻。我甚至不想開始比較這兩種建模方法。盒子造型很有趣，但已經(jīng)過時(shí)了，尤其是如果你在制作有機(jī)物的話。隨著時(shí)間的推移，ZBrush和Mudbox已經(jīng)成為從有機(jī)，硬表面到建筑模型等任何建模的alpha工具。這些工具使藝術(shù)家能夠快速準(zhǔn)確地實(shí)現(xiàn)自己的愿景，而不必在創(chuàng)作過程中過于技術(shù)化。獲得真實(shí)的生活粘土模型幾乎是一樣的直觀和容易。

在這個(gè)例證中，你有兩個(gè)恐龍物種。 Eon Software作為3D資產(chǎn)之前創(chuàng)建了背景中的梁龍恐龍。我剛剛重新使用了這個(gè)模型，并把它們放到遠(yuǎn)處的大群中。所以在本節(jié)中，我將重點(diǎn)介紹如何模擬食肉牛。畢竟，他是這個(gè)插圖的主角！

Carnotaurus模型完全在ZBrush中完成。在我以前的一些建模項(xiàng)目中，我會(huì)去3ds Max，制作一個(gè)粗糙的低多邊形網(wǎng)格�，F(xiàn)在我正在做ZBrush里面所有的建模工作，盡管在極少數(shù)情況下我仍然使用3ds Max來完成一些建模工作。

第一步是一個(gè)ZSphere基本模型（圖03）。一旦恐龍的粗糙形狀完成，ZSphere形狀就變成了一個(gè)聚合物體。

Modeling

Unlike the original image, where I used 3ds Max and a box modeling method, these new Carnotaurus were sculpted using ZBrush 4R2. I don't even want to start comparing these two modeling methods. Box modeling was fun, but it has become outdated, especially if you're building organic objects. Over time, ZBrush and Mudbox have become the alpha tools for modeling anything from organic, over hard surface to architectural models. These tools enable artists to flesh-out their visions quickly and accurately, without having to get too techy in the process of creation. It is almost as intuitive and easy to get as a real life clay modeling.

In this illustration you have two dinosaur species. The Diplodocus dinosaur in the background was created before for Eon Software as a 3D asset. I just re-used that model and reposed/aligned them into big herd moving away into the distance. So in this section I'm going to focus on how I modeled the Carnotaurus. After all, he is the star of this illustration!

The Carnotaurus model was made completely in ZBrush. In some of my previous modeling projects I would go to 3ds Max and make a rough low poly mesh. Nowadays I'm doing all the modeling work inside ZBrush, although on rare occasions I still switch to 3ds Max to get some modeling done there.

The first step was a ZSphere basic model (Fig.03). As soon as the dinosaur's rough shape was complete, the ZSphere shape was turned into a polymesh object.

Fig.03

圖.03

我從互聯(lián)網(wǎng)上下載了幾十個(gè)Carnotaurus骨骼參考圖像（圖04），雕刻出一般的形狀和比例。

I sculpted the general shape and proportions with the help of dozens of Carnotaurus skeleton reference images downloaded from the internet (Fig.04).

Fig.04

圖.04

這個(gè)項(xiàng)目的好處是我從一個(gè)真正的古生物學(xué)家那里得到了不斷的反饋。 因此，以我感覺和想象的方式重建恐龍是一件非常愉快的事情，然后從專業(yè)人士那里得到有價(jià)值的反饋。 這是在這個(gè)領(lǐng)域?qū)W習(xí)和提高的一個(gè)很好的機(jī)會(huì)。

一旦我確定了食肉恐龍屬形態(tài)學(xué)，它被批準(zhǔn)了，在這個(gè)過程中，我必須重新研究網(wǎng)格(圖05)。我在ZBrush做的。雖然這個(gè)功能仍然可以得到很大的改進(jìn)，但是我已經(jīng)學(xué)會(huì)了欣賞它，并且在ZBrush的重新拓?fù)浣Y(jié)構(gòu)中變得非�？�。

The good thing about this project was that I had constant feedback from a real paleontologist. So it was a real pleasure to reconstruct the dinosaur the way I felt and thought it should look, then receive valuable feedback from the professional. This was a great opportunity to learn and improve in that field.

Once I had nailed the Carnotaurus morphology and it was approved, it was the point in the process where I had to retopologize the mesh (Fig.05). I did this in ZBrush. Though this feature could still be massively improved, I've learned to appreciate it and have become quite fast at retopologizing meshes in ZBrush.

Fig.05

圖.05

在ZBrush Topology功能中有大量?jī)?yōu)秀的教程，但是我會(huì)介紹它背后的基本前提。 為了能夠重新進(jìn)行任何你需要有一個(gè)聚合對(duì)象，或任何類型的對(duì)象，你可以導(dǎo)入到ZBrush。 編輯拓?fù)渥钸m合分揀和清理使用ZSpheres，ZSketch，DynaMesh或基本上具有凌亂拓?fù)涞娜魏螌?duì)象創(chuàng)建的網(wǎng)格對(duì)象。

在Subtools調(diào)色板中，您需要單擊Append按鈕并從窗口中選擇默認(rèn)的ZSphere對(duì)象。 現(xiàn)在，您需要在子工具層中選擇ZSphere，然后向下滾動(dòng)到“工具”部分的底部以查找“拓?fù)洹闭{(diào)板。 然后點(diǎn)擊Edit Topology（圖06）。

There are loads of great tutorials out there on the ZBrush Topology feature, but I will cover the basic premise behind it. To be able to retopologize anything you need to have a polymesh object, or any kind of object you can import into ZBrush. Edit Topology is best for sorting out and cleaning mesh objects that are created using ZSpheres, ZSketch, DynaMesh or basically any objects that have messy topology.

In the Subtools palette you need to click the Append button and select the default ZSphere object from the window. Now you need to select that ZSphere in the subtool layer and scroll down to the bottom of the Tool section to find the Topology palette. Then click Edit Topology (Fig.06).

Fig.06

圖.06

您需要進(jìn)入編輯和繪圖模式才能啟動(dòng)retopologizing（圖07）。

You need to be in the Edit and Draw mode to be able to start retopologizing (Fig.07).

Fig.07

圖.07

只要按一下這個(gè)物體，在這個(gè)例子里恐龍的頭部，然后開始連接這些點(diǎn)。你應(yīng)該看到橙色的線，使物體的線框，就像在圖像中(圖08)。

Just click on the object, in this case the dinosaur's head, and start connecting the dots. You should see orange lines that make the object's wire frame, just like in the image (Fig.08).

Fig.08

圖.08

在調(diào)整網(wǎng)格的過程中，你應(yīng)該不時(shí)地進(jìn)入預(yù)覽模式，然后檢查網(wǎng)格的一致性，確保一切正常。您可以通過按下自適應(yīng)外觀調(diào)色板（位于拓?fù)浣Y(jié)構(gòu)上方的一些選項(xiàng)）下方的“預(yù)覽”按鈕來執(zhí)行此操作，也可以只需在鍵盤上按A即可。 在預(yù)覽模式下，你的網(wǎng)格應(yīng)該看起來像這樣（圖9）。

In the process of retopologizing your mesh you should go into Preview mode every now and then to check the mesh for consistency and make sure everything is OK. You do that by pressing the Preview button under the Adaptive Skin palette that is located a couple of options above Topology, or you can simply press A on the keyboard. In Preview mode your mesh should look something like this (Fig.09).

Fig.09

圖.09

一旦完成整個(gè)對(duì)象，并且對(duì)結(jié)果滿意，就可以通過點(diǎn)擊位于工具菜單頂部的Make Polymesh3D按鈕（圖10）將網(wǎng)格變成多邊形。 現(xiàn)在，您已經(jīng)準(zhǔn)備好從凌亂的舊網(wǎng)格投影細(xì)節(jié)，或者，如果您沒有任何細(xì)節(jié)，請(qǐng)開始詳細(xì)說明干凈的網(wǎng)格。

As soon as you complete the entire object and you are happy with the result, the mesh should be turned into a polymesh by clicking the Make Polymesh3D button positioned at the top of the Tool menu (Fig.10). Now you are ready to either project details from the messy old mesh, or, if you don't have any details, start detailing the clean mesh.

Fig.10

圖.10

為了詳細(xì)描述這個(gè)恐龍，我使用了一些專門為這個(gè)場(chǎng)合創(chuàng)建的定制的alpha刷子， 我用來創(chuàng)建自定義alpha的方法沒有什么特別的。 我從工具選項(xiàng)板的主工具菜單（圖11）下面選擇了一個(gè)Plane3D對(duì)象。 我把它變成了一個(gè)Polymesh3D，并細(xì)分了大約六七次，以盡可能順利地提取alpha刷子。

For detailing this dinosaur I used a couple of custom-made alpha brushes that I created specifically for this occasion, The method I used to create the custom alphas is nothing special really. I selected a Plane3D object from the Tool palette, under the main Tool menu (Fig.11). I turned it into a Polymesh3D and subdivided about six or seven times to extract the alpha brush as smoothly as possible.

Fig.11

圖.11

然后，我開始雕刻我想要的恐龍的尺度和細(xì)節(jié)。 一旦細(xì)節(jié)被雕刻出來，我進(jìn)入Alpha面板，點(diǎn)擊GrabDoc。 ZBrush自動(dòng)創(chuàng)建了一個(gè)具有完美的Z-Depth數(shù)據(jù)的alpha刷，我用這些數(shù)據(jù)更快速地在更寬的表面上繪制這些刻度（圖12-13）。

Then I started sculpting the scales and details I wanted on my dinosaur. Once the details had been sculpted out, I went into the Alpha panel and clicked GrabDoc. ZBrush automatically created an alpha brush with perfect Z-Depth data that I used to paint those scales faster and on broader surfaces (Fig.12 - 13).

Fig.12

圖.12

Fig.13

圖.13

這種雕刻尺度的方式對(duì)于我的模型的某些區(qū)域是好的，但我并沒有在任何地方使用這種方法。 我手工雕刻更詳細(xì)和重要的領(lǐng)域，如頭部，手臂，手指和腿部。 這花了更多的時(shí)間，但毫無疑問，它給了我更好的效果。 重要的是要記住，如果過度使用單個(gè)模型上的自定義Alpha，或者甚至是該模型的某個(gè)區(qū)域/正文部分，則可能看起來不太好。

我之前提到過手工細(xì)節(jié)，現(xiàn)在我將解釋我在這個(gè)特定情況下使用的技術(shù)。

頭部上的大部分鱗片，手部和腿部的部分，尤其是手指，都是通過在所需區(qū)域上繪制鱗片形狀的面具而創(chuàng)建的。 在畫完面具后我很滿意，然后倒轉(zhuǎn)蒙面，得到一個(gè)“無面具”的區(qū)域，使用移動(dòng)畫筆進(jìn)行紋理化（圖14-16）。

This way of sculpting scales was good for some areas of my model, but I didn't use this method everywhere. I manually sculpted the more detailed and important areas, like the head, arms, fingers and legs. It took more time, but it gave me a better effect, without a doubt. It's important to remember that if you overuse a custom alpha on a single model, or even a certain area/body part of that model, it is likely it won't look as good.

I mentioned manual detailing before and I'll now explain the technique I used in this particular case.

Most of the scales on the head, portions of hands and legs, especially fingers, were created by painting masks in the shape of the scales on the desired area. After I was happy with the painted masks, I inverted the masked area and got a "mask free" area that I textured using the Move brush (Fig.14 - 16).

Fig.14

圖.14

Fig.15

圖.15

Fig.16

圖.16

我另外用標(biāo)準(zhǔn)刷子和標(biāo)準(zhǔn)的ZBrush alpha 39在邊緣上磨光每個(gè)刻度，在Brush> Depth> Gravity下的Gravity設(shè)置為45-60。 對(duì)于頭部刻度，我使用了ZBrush alpha 39的Displace筆刷來獲得頭頂最明顯的尖頭刻度（圖17）。

I additionally polished each scale with a standard brush and standard ZBrush alpha 39 over the edges, with Gravity under Brush > Depth > Gravity set to 45-60. For the head scales, I used the Displace brush with the ZBrush alpha 39 to get the pointy scales look that is most noticeable on the top of the head (Fig.17).

Fig.17

圖.17