制作“瘋狂的公主”

介紹

Introduction

我的第一步是把瑪吉賴?yán)�的一張照片放進(jìn)軟件中……

My first step was to put one of Maggie Reilly's albums into Winamp...

在我開始創(chuàng)作肖像之前，我先研究一些照片，或者其他藝術(shù)家的圖像和肖像畫，來(lái)激發(fā)我的想象力。有時(shí)我會(huì)借用其他藝術(shù)家的想法——不幸的是，這些天沒有什么新想法！

In general before I start to create a portrait image I study some photos, or other artist's images and paintings, to spark my imagination. Sometimes I'll borrow ideas from other artist - unfortunately there aren't really any completely new artistic ideas under the sun these days!

我最初的想法是創(chuàng)造一個(gè)女性小丑，但是后來(lái)我改變了我的想法，所以最初的概念和結(jié)果是完全不同的。當(dāng)我在創(chuàng)作這張圖片的過程中，我腦海中浮現(xiàn)出新的想法，這些想法塑造就了最終的形象。

My original concept was to create a female clown, but I changed my mind later and so the original concept and the result are totally different. When I was in the process of creating this image, new ideas came into my mind and these shaped the final image.

我試著給整個(gè)圖像添加一個(gè)經(jīng)典的、痛苦的效果，用Photoshop來(lái)提高藝術(shù)效果。我不想創(chuàng)建一個(gè)彩色的圖片，這就是為什么我沒有使用太多的顏色。我使用的是暖色，因?yàn)樗鼈兛梢栽鎏韴D像老舊的效果(圖01)。

I have tried to add a classic, painterish effect to the whole image to enhance the fine art effect with the post work in Photoshop. I didn't want to create a colorful picture and that's why I didn't use too many colors. Those I did use were warm because they can add to the old-ish effect of an image (Fig.01).

圖01

關(guān)于這個(gè)角色

About the Character

我用這個(gè)角色的頭部開始了這篇文章。我用一種經(jīng)典的方式創(chuàng)造了整個(gè)頭部，使用了兩張女性頭部正面和側(cè)面作為參考照片。

I started this piece with the head of the character. I created the whole head in a classic way, using two reference photos of the front and side view of a female head.

首先，我創(chuàng)造了眼槽和它周圍的部分，之后我繼續(xù)制作她的鼻子和她的嘴。耳朵是單獨(dú)創(chuàng)造的;這是我?guī)啄昵爸谱鞯囊粋�(gè)預(yù)先創(chuàng)建的網(wǎng)格，現(xiàn)在已經(jīng)用于我所有的角色模型。眼球也一樣!

First I created the eye-slot and its environment and after that I continued with her nose and her mouth. The ear was created separately earlier; it was a pre-created mesh that I made some years ago and have since used for all my character models. It's the same with the eyeballs!

我總是把一半的頭和身體做成模型，然后將它們鏡像到另一邊，然后把它們和“連接”選項(xiàng)一起放在Blender中。她的身體也是分開的，就像她的手和她的頭一樣。我只是在身體參考照片的幫助下，對(duì)一半進(jìn)行了建模。

I always model half of the head and body, then mirror them to the other side and attached them together with the "Join" option in Blender. Her body was also created separately, just like her hands and her head. I only modeled half, with the help of body reference photos.

在那之后，我將整個(gè)模型分成不同的部分，用于打開UV貼圖。我把模特分成了臉、四肢、軀干、耳朵、睫毛、指甲、嘴唇等等……我用不同的材料制作了不同的身體部位，材質(zhì)也很相似。對(duì)于軀干、四肢和臉部，我使用了不同質(zhì)地的相同材料。我在每個(gè)物體上都使用了多種材料;嘴唇有另一種物質(zhì)就像睫毛，指甲等(圖02)。

After that I divided the whole model into different parts for unwrapping to the UV map. I divided the model into face, limbs, torso, ears, lashes, nails, lips, etc... I used different materials for different body parts with similar material settings. For the torso, limbs and face I used the same materials with different textures. I used multiple materials on each object; the lips had another material just like lashes, and nails etc (Fig.02).

圖 02

設(shè)置皮膚材料是一件非常令人興奮的事情�；�本上，我使用了3-4種紋理的SSS (Subsurface散射)，包括顏色紋理、凹凸貼圖紋理和鏡面貼圖紋理。我混合了這些紋理和漸變暗紅色到淺紅色。這一步增強(qiáng)了材料的“真正的肉的效果”。我將漸變?cè)O(shè)置為皮膚輸入“結(jié)果”和“疊加”的方法。在我看來(lái)，大多數(shù)的Blender藝術(shù)家使用了太多的SSS效果——所以他們創(chuàng)造的皮膚材料就像蠟，而不是皮膚。另一個(gè)好的方法是使用節(jié)點(diǎn)，但是我不喜歡使用它們。

Setting the skin material is a very exciting thing. Basically I used SSS (Subsurface Scattering) with 3-4 texture including a color texture, a bump map texture and a specular map texture.  I mixed these textures with a gradient ramp dark red to light red. This step enhances the "real meat effect" of the material. I set the gradient ramp to the skin input "result" and the method to "overlay". Most Blender artist use too much SSS effect in my opinion - so the skin material they create becomes like a wax instead of skin. Another good way can be to use nodes, but I don't like to use them.

我把她的睫毛從一個(gè)簡(jiǎn)單的平面物體上畫出來(lái)，它包含了一種混合著阿爾法紋理的顏色紋理。當(dāng)我設(shè)置睫毛材料時(shí)，我關(guān)閉了它的投射和接收陰影選項(xiàng)。如果睫毛投下陰影，那么眼睛周圍的環(huán)境就會(huì)變暗。這樣，我丟掉了一點(diǎn)真實(shí)感，讓我的形象更好。

I made her lashes from a simple plane object which contained a color texture mixed with an alpha texture. When I set the material of the lashes I turned off its casting and receiving shadows option. If the lashes cast shadows then they make the environment of the eyes much darker. In this way, I sacrificed a bit of reality to make my image better.

為模型創(chuàng)建眼睛是最簡(jiǎn)單的事情。正如我之前提到的，我已經(jīng)預(yù)先對(duì)眼睛進(jìn)行了建模，它們是我在身體部分收集的一部分。眼睛是兩個(gè)修飾的UV球，其中包含了一種不同的材料。我使用了一種簡(jiǎn)單的Z透明材料，帶有反射紋理(HDRI map)和高難度的角膜反射。我把彌漫的著色器設(shè)置為oren-nayar和鏡面材質(zhì)給blinn。虹膜和眼白只是一個(gè)顏色紋理和凹凸貼圖紋理(圖03)。

Creating eyes for a model is the simplest thing. As I mentioned earlier, I'd already modeled the eyes beforehand and they were a part of my body parts collection. The eyes were two modified UV spheres which contained one-to-one different materials. I used a simple Z transparent material with a reflection texture (HDRI map) and high and hard specularity for the cornea. I set the diffuse shader to oren-nayar and the specular shader to blinn. The iris and the eye white were just a color texture and a bump map texture respectively (Fig.03).

圖 03

關(guān)于衣服

About the Clothes

創(chuàng)作服裝一直是我最喜歡的部分，因?yàn)檫@是一個(gè)巨大的挑戰(zhàn)。他們的細(xì)節(jié)在很大程度上影響了一個(gè)形象。我認(rèn)為制作精良的衣服是任何形象成功的一半。

Creating clothes is always my favorite part because it is a huge challenge. Their details influence an image in a huge way. I think well created, detailed clothes are half the success of any image.

在一個(gè)特寫鏡頭中，我不建議使用普通貼圖來(lái)產(chǎn)生皺紋——我不認(rèn)為當(dāng)我們看到一個(gè)沒陰影和縫隙的布料時(shí)，它看起來(lái)會(huì)很好看。我的皺紋技術(shù)很簡(jiǎn)單。大多數(shù)藝術(shù)家想要避免三角形的表面，但我敢說它們是創(chuàng)造逼真的衣服所必需的。我不喜歡表面太光滑的衣服，也不喜歡那些只有普通貼圖的皺紋，但那只是我個(gè)人的品味。

In a close up view I don't advise using normal maps to create wrinkles - I don't think it looks very good when we see the shadow of a gap without a fabric hill. My wrinkle technique is very simple. Most artists want to avoid triangular surfaces but I dare to state they are necessary for creating realistic looking clothes. I don't like clothes with surfaces that are too smooth and where the wrinkles are only made of normal maps, but that's just my personal taste.

最后一步是給一些織物一些光澤，例如:邊緣。我用集成的材質(zhì)混合選項(xiàng)做了這個(gè);我選擇了球體混合，并將它的映射輸入設(shè)置設(shè)為反射——它將反射向量作為紋理的坐標(biāo)，并將二維投影映射到Z、Z、關(guān)閉(圖04)。

The last step was to give a bit of shine to some of the fabrics, for example: edges. I did this with the integrated textures blend option; I selected sphere blend and set its map input to reflection - it uses reflection vectors as the coordinates of the texture - and the 2D projections to Z,Z,off (Fig.04).

圖04

裝備和造型

Rigging and Posing

我基本上是為這個(gè)角色選擇了一個(gè)做白日夢(mèng)式的姿勢(shì)。我覺得這個(gè)姿勢(shì)很有表現(xiàn)力，我想要傳達(dá)的是一個(gè)生活在夢(mèng)中的信徒。

I basically chose a daydreamer pose for the character. I think this pose is expressive enough and I was trying to convey a believer who lives in her dreams.

Blender可以提供一些非常簡(jiǎn)單的方法來(lái)操縱角色。在這種情況下，我混合了重量油漆選項(xiàng)(用畫筆畫重量)和加權(quán)頂點(diǎn)組。每個(gè)頂點(diǎn)或頂點(diǎn)組的權(quán)值都可以手動(dòng)確定，所以你可以很精確地將頂點(diǎn)指向合適的骨頭(圖05)

Blender can offer some very easy and good ways of rigging a character. In this case I mixed the weight paint option (painting the weight with a brush) and weighting vertex groups. The weights of each vertex point or vertex point groups can be determined manually, so you can attach the vertex points to the proper bones very precisely (Fig.05).

圖05

燈光和相機(jī)

Lights and Camera

燈光是非常重要的，使細(xì)節(jié)可見，而且它們還增加了圖像的氣氛。在這幅圖像中，我使用了四個(gè)聚光燈:兩個(gè)淺黃色和兩個(gè)藍(lán)色。只有一盞淡黃色的燈投下了陰影，它的能量最多(1.200)。我把聚光燈的邊緣設(shè)置得非常柔和，就像陰影的邊緣一樣。在燈光旁邊，我打開了環(huán)境遮擋選項(xiàng)。

The lights are very important to make details visible and besides that they also add to the ambience of an image. In this image I used four spotlights: two light yellow and two blue. Only one of the light yellow lamps cast a shadow and it had the most energy (1.200). I set the edges of the spotlights to very soft, just like the edge of the cast shadow. Beside the lights I turned on the ambient occlusion option.

在我設(shè)置好燈光后，我進(jìn)入了相機(jī)設(shè)置。我把相機(jī)移到離角色很遠(yuǎn)的地方，然后放大。鏡頭設(shè)置為160單位(圖06)。

After I set the lights, I moved onto the camera setting. I moved the camera far from the character and then zoomed in. The lens was set to 160 units (Fig.06).

圖06

后期制作

Post Work

所有的工作都是在Photoshop中完成的。一般來(lái)說，我用一個(gè)alpha蒙版來(lái)渲染這個(gè)角色，這樣我就可以很容易地匹配Photoshop中人物的背景了。

All post work was done in Photoshop, naturally. In general, I rendered the character with an alpha mask so that I could easily match the background behind the character in Photoshop.

背景是預(yù)先創(chuàng)建的，手繪的圖像，它被放置在角色的后面。

The background was a pre-created, hand painted image and it was set behind the character.

最后一步是讓光線均勻化整個(gè)圖像。為此，我使用了漸變選項(xiàng);這一步為圖像提供了主要的氛圍�？梢钥吹�，我選擇了暖色(圖07)。

The last step was to give lights to homogenize the whole image. For this I used the gradient ramp option; this step gives the main ambience to the image. As can be seen, I chose warm colors (Fig.07).

圖07

這就是我寫這篇教程的全部?jī)?nèi)容，謝謝。

And that's all I can write about how I made this image.