古代人“陶”的制作

介紹

我是一名藝術家，在Weta工作室設計工作室，主要從事電影的生物和角色設計，偶爾也會做游戲。我一直受到幻想和神話的啟發(fā)。我想讓這個角色的臉講述一個故事;這并不一定是我編造的故事，但觀眾可以自己理解。

Introduction

I am an artist who works at Weta Workshop Design Studio doing mainly creature and character design for film and occasionally for games. I've always been inspired by fantasy and myth. I wanted this character's face to tell a story; not necessarily a story that I've made up, but one the viewer can sense for themselves.

圖01 Fig. 01

圖片

一般來說，我為工作而設計的圖像類型，是以最逼真或電影化的方式來突出和展示設計的圖像類型，通常使得圖像感覺非常適合工作室照明。對于這件作品，我想使用相同的工具，但創(chuàng)造一個更喜怒無常的大氣肖像。對于這個特別的例子，它將是關于最終框架渲染。事實上，它是為了在惠靈頓舉行的展覽而打印出來的，所以它更少的是關于雕塑和更多關于整體的作品(圖02)。

The Image

Generally the types of imagery I make for work are ones that highlight and show a design in the most photorealistic or cinematic way possible, frequently making the images feel very studio lit. For this piece I wanted to use the same tools but create a more moody and atmospheric portrait. I decided that for this particular illustration it would be all about the final framed render. In fact, it was to be printed out for an exhibition held here in Wellington so it was less about the sculpting and more about the overall piece (Fig.02).

圖02 Fig.02

我用來創(chuàng)建Tao的軟件是Pixologic的ZBrush和Adobe Photoshop。我在工作中廣泛使用這兩個軟件包，并將其用于個人項目。雖然造型只是打算從一個角度來看，ZBrush增加了很大的深度，你的形象。這也是我為什么在維塔的設計工作中使用它的另一個原因。看到你設計的一個生物或角色在一個不錯的插圖中，然后從不同的角度來看它是非常有價值的。正如你用手在圖像中看到的那樣，我只是真正地將細節(jié)雕刻在將被觀看的一側（圖03）。

The software I used to create Tao was Pixologic's ZBrush and Adobe Photoshop. I use these two packages extensively at work and enjoy using them for personal projects as well. Although the sculpt was only intended to be viewed from one angle, ZBrush adds great depth to your image. This is another reason why I use it so much for design work at Weta. Seeing a creature or character you've designed in a nice illustration and viewing it from different angles afterwards is so valuable. As you can see in the image with the hands, I've only really sculpted detail into the side that will be viewed (Fig.03).

圖03 Fig.03

然而，在臉上我花了更多的時間來雕刻紋理。我通常不會用工件去做這件事，因為完成整件作品的時間更緊迫，但是看到這是為了我自己和展出，我喜歡在他的臉上添加額外的細節(jié)（圖.04）。

However, with the face I spent a little more time sculpting up the texture. I don't normally go this far with work pieces, as time to finish the whole piece is more pressing, but seeing as this was for myself and to be exhibited I enjoyed adding that extra detail in his face (Fig.04).

圖.04 Fig.04

我從一個普通的網(wǎng)格開始雕塑，嘗試了幾個不同的姿勢，但我大致知道我想要去哪個姿勢。在一個階段，我發(fā)現(xiàn)這讓他看起來有些虛弱，觀眾直接的視線使他的力量更強了（圖05）。

I started the sculpture from a generic mesh and tried a few different poses, but I knew roughly where I wanted to go with the pose. At one stage I found it made him look a little too weak and that the direct eyeline with the viewer gave him a little more strength (Fig.05).

圖05 Fig.05

我總是試圖規(guī)劃自己的作品，而我希望把最初的重點放在他的臉上和雙手上，并用直接的視線來加強。我總是喜歡使用這種權重，因為它總是感覺正確。舊的黃金比例！

對于我用ZBrush創(chuàng)建的設計作品，包括這個，我總是在模型上烘焙出許多著色器，用在我最后的Photoshop作品中（圖06）。

I always try to plan my composition and with this piece I wanted the initial focus to be on his face and hands, with a direct eyeline weighted towards the top. I consistently like to use this sort of weighting as it always feels right. The old golden ratio!

For my design work created with ZBrush, including this one, I always bake out a number of shaders on the model to use in my final Photoshop piece (Fig.06).

圖06 Fig.06

當我開發(fā)諸如照明，反射，顏色，皮膚半透明，甚至紋理等方面的外觀和感覺時，這給了我很多玩法。 只要我有ZBrush的alpha通道，我就可以做任何我想要的背景，有時這可能會導致整體的有趣的發(fā)展。 我也喜歡添加一些紋理圖像，我不斷地拍攝或下載有趣的紋理，如苔蘚或銹。 這些可以在整個角色和整個圖像上產(chǎn)生一些有趣的噪音和文物（圖7）。

This gives me a lot to play with when I'm developing the look and feel of aspects such as lighting, reflection, color, skin translucency and even texture. As long as I have my alpha channel from ZBrush I'm able to do whatever I want to the background and sometimes this can lead to interesting developments in the overall piece. I also like adding some texture images and I'm constantly either photographing or downloading interesting textures like moss or rust. These can create some interesting noise and artefacts across the character and the image as a whole (Fig.07).

圖7 Fig.07

這種技術對這幅圖像尤其有用。我經(jīng)常用它來創(chuàng)造舊的感覺。

This technique came in particularly handy for this image. I used it extensively to create the worn and old feel of the piece.

這是一個巨大的榮譽，成為這個驚人的出版才華橫溢的藝術家的一部分。我希望我所分享的都是有益的，我期待著在未來分享更多的工作。

It is a huge honour to be a part of this amazing publication of incredibly talented artists. I hope what I have shared has been helpful and I look forward to sharing more work in the future.