制作“CG繪畫”工具（一）

你好，我的名字是Vadim Valiullin，我住在俄羅斯，我現(xiàn)在是師范大學第五課程的學生，學習設計。我想和大家分享一篇關于作品創(chuàng)作的文章，“CG繪畫”。這篇文章反映了我的觀點，使用軟件3ds Max 8 (2008)， Mental Ray和photoshopcs3。

Hello, my name is Vadim Valiullin, I live in Russia, Ufa, and I am currently a student of the 5th course of Bashkir Pedagogical University, studying design. I want to share with you an article about the creation of the work, "CG Painting". I would like to note that this article reflects my point of view and is not an axiom. 3ds Max 8 (2008), Mental Ray and Photoshop CS3 were used in the creation of this 3D image.

概念

Concept

有一天，我有了一個想法:我認為我很久沒有使用傳統(tǒng)的繪畫方法了，我在想藝術是如何把它變成數(shù)字格式的。我記得幾年前我是如何從生活中獲得樂趣的，我想象著這樣一種情景。這個想法看起來很瘋狂，但很有趣。我不斷地思考，最終我想象出了場景;兩個月后，我決定把這個想法變成3D。所以我有一個獨特的想法，我到底想要達到什么目的;沒有必要記下這個概念或草圖，我只使用了我的想象力。完成這項工作花了大約一個半月的時間，所有的工作都是在我空閑時間完成的(圖01)

I had an idea for this work one day: I thought that I had not been drawing using traditional methods for a long time, and I was thinking about how fine arts have practically passed into digital format. I remembered how I painted from life with pleasure a few years ago, and I imagined a situation in which I could take the computer out into plain air. The idea seemed pretty crazy, but funny. I thought about it constantly and eventually I imagined the scene visually; after 2 months I decided to turn the idea into 3D. So I had a distinctive idea of what do I wanted to achieve at the end; there was no need to jot down the concept or a sketch, I used only my imagination. It took about 1.5 months to complete the work, all done in my free time (Fig.01)

圖 01

造型

Modelling

這工作在造型方面并不復雜;所有的模型都相當簡單，都是用可編輯多邊形和樣條線做的。使用豐富的可編輯多邊形工具，我在建模中沒有遇到任何嚴重問題。與此同時，在建模方面，我做了紋理和陰影，在稍后我會告訴你。在我看來，我們有機會去控制和糾正細節(jié)，而不是浪費時間，去解決問題，更有效地利用資源。在開始的時候，我們應該保持物體表面的形狀和特性。如果是木板，我們就應該畫出幾何圖形，因為理想和相等的板不存在。此外，倒角的厚度和不規(guī)則性也會有所不同。這樣看不清的幾何扭曲會給作品帶來更自然的感覺。這是一些關于木頭幾何形狀的截屏(圖02)。這些東西的造型沒有什么困難，所以我在這里不會太在意。

This work is not complicated in terms of modelling; all the models are rather simple and were made from primitives and splines with Editable Poly. Using the rich collection of Editable Poly tools I have not met any serious problems in modelling. At the same time, with modelling, I did the texturing and shading, but I will tell you about that later. In my opinion, we have an opportunity to control and correct details and not to waste time, to get rid of problems and to use recourses more efficiently. At the beginning, we should keep to the shapes and the peculiarities of the surfaces of the objects. If it is a wooden board we should curve the geometry, because ideal and equal boards do not exist. Also, the chamfers will have different thicknesses and irregularities. Such small, and at first sight imperceptible distortions of geometry will give a more natural feel to the work. Here are some screenshots of the geometry of the wood (Fig.02). There is nothing difficult in the modelling of these objects so I will not pay too much attention to it here.

圖 02

如果有必要對金屬進行建模，不要忘記金屬通常是彎曲的，它不會像木頭那樣斷裂和爆裂，所以當多邊形建模時，使一些偏離對稱和理想的形狀是很好的。在金屬物體上去除倒角也是必要的，即使是最先進的著色器，也很難達到正常的高光。如果我們必須對所有的金屬物體進行建模，我們之間的差異就越大，越好(但這對廣告的可視化效果不太好)。此外，鑄件的對象要更多的面，或者看起來比較粗糙，比如鍛造的產品，所以網格平滑的工具是必要的，特別是當它們從近距離可見的時候(圖03)。

If it is necessary to model metal then do not forget that metal usually curves, it does not break and burst like wood and so it would be good to make some deviations away from symmetry and ideal forms when poly modelling. It is also necessary to remove chamfers on metal objects or it will be difficult to achieve normal highlights, despite even the most advanced shaders. If we have to model some all- metal objects, the more differences we have, the better (but it is not good for advertising visualisation). Also, the cast objects take more numbers of faces or they will look rather rough, like forged products, so the Mesh Smooth tool is therefore necessary, especially when they are visible from a close distance (Fig.03).

圖 03

至于塑料的幾何形狀，最好是保持相等，只增加倒角(塑料比金屬更圓)，因為塑料會破裂，不會彎曲變形。此外，塑料是相當扁平的，幾乎不可能注意到變化;我們可以用著色器來模擬磨損。有些地方的電線不理想，有些東西不完整，有些地方可以保存人的臉。我的目標是快速地做每一件事，不要用太多。在圖04中，我們可以看到，尖銳和直接的線條反映了塑料制品的形狀。

As for the geometry of plastic, it will be better to stay equal and only to add chamfers (plastic is more round on the corners than metal) because plastic will burst and will not curve and distort. Moreover, plastic is rather flat and it is practically impossible to notice changes; the abrasions we can imitate with shaders. The wire in some places is not ideal, some objects are not whole and somewhere it would be possible to save faces. My aim was to do everything fast and not to use too many faces. In Fig.04 we can see that sharp and direct lines reflect the shape of plastic products.

圖 04

我模仿了畫框，看著照片;由于缺少某些參考資料，我不得不考慮一些因素。盡管如此，我還是努力使它成真。然后我用顯示器提供了顏料盒，并在屏幕上畫了一個初步的草圖(圖05)。

I modelled the paint box looking at photos; I had to think up some of the elements because of the absence of certain references. Nevertheless, I tried to make it all true. I then supplied the paint box with the monitor, and drew a preliminary sketch as a texture on the screen (Fig.05).

圖 05

有必要用小的東西填充顏料盒，所以我會告訴你一些不存在的物體的思想成分和設計。當然，我自己也考慮過他們的設計，看看現(xiàn)實生活中的物體。用顏料盒、顯示器、系統(tǒng)塊等進行操作很簡單;我以現(xiàn)有的產品為基礎，但更換了一些品牌，這樣就不會為任何人做廣告(稍后我會告訴你關于重塑品牌的事情)。

It was necessary to fill the paint box with small things, so I will tell you about the ideological components and design of some of the nonexistent objects. Certainly, I thought about their design myself, looking at real-life objects. It was simple to do it with the paint-box, the monitor, the system block, etc.; I based them on existing products but replaced some brands so as not to advertise anybody (I'll tell you about rebranding later).

我決定做一個調色板;但是CG，我不想讓它變成你平常的調色板，因此，我決定將圖形平板和傳統(tǒng)繪畫用的調色板混合在一起。當樣本接近時，模型總是更容易建模，我們可以在可疑的時刻觸摸它并觀察它。基本上，有兩種調色板:長方形和橢圓形。它不值得把長方形的平板和橢圓形的調色板混合在一起;一切都應該是和諧和令人信服的。因此我將矩形調色板作為一個基底;我用畫筆做了同樣的事情(圖06)。

I decided to make a palette; I didn't want it to be your usual palette, but CG. I therefore decided to mix a graphics tablet with a palette used for traditional painting. It is always easier to model when the sample is near and we can touch it and look at it during doubtful moments. Basically, there are two kinds of palettes: rectangular and oval. It is not worth mixing rectangular forms of a tablet with an oval palette; everything should be harmonious and convincing. I therefore took the rectangular palette as a base; I did the same with the brush (Fig.06).

圖06

然后是刮刀的轉動，它被用來混合傳統(tǒng)繪畫的顏色和將油畫顏料涂在畫布上。我決定以Photoshop工具圖標的形式作為我的刮刀的基礎，比如:銳化工具，模糊工具和涂抹工具(圖07)。與此同時，我為隨后填充空白的空間建模和構造了一組小的東西。在調色板的刀柄上的所有紋理都有不同的著色和映射;刷子是一樣的。這促進了對工作的最佳感知。我的原則是，在一個階段中，如果從一個鏡頭中看到物體，如果沒有必要的話，就不使用完整的物體復制品。

Then it was the turn of the palette knife, which is used for mixing colour in traditional painting and for applying oils to canvas. I decided to take the form of the Photoshop tools icons as a basis for the form of my palette knives, such as: Sharpen tool, Blur tool and Smudge tool (Fig.07). At the same time I modelled and textured a set of small things for the subsequent filling of empty spaces. All textures of wood on the handles of the palette knives have different shaders and mapping; the brushes are the same. This promotes the best perception of the work. My rule is not to use full copies of objects in one stage if they will be seen from one shot and if it is not necessary for the task.

圖 07

下一階段是油漆，水粉和油。我決定在CMYK(打印)和RGB (monitor display)的基礎上創(chuàng)建它們。為顏料制作紋理，我替換了所有的顏色，并添加了相應的銘文(圖08)。接下來，我想說的是，盒子上的所有倒角都是通過紋理來分離的。在一些地方，我用Photoshop把它們畫出來，因為它能讓工作看起來更有說服力。

The next stage was the paints - gouache and oil. I decided to make them on the basis of CMYK (for print) and RGB (monitor display). Making textures for the paints I replaced all colours and added corresponding inscriptions (Fig.08). Moving forward, I would like to say that all chamfers on the boxes with paints were isolated by texture. In some places I drew them in Photoshop, as it helped make the work look more convincing.

圖08

我也設計了水彩畫，以潘通色系為基礎。不幸的是，我想不出任何符合邏輯的解決方案，也不想進入一個完全的幻想，所以我選擇了最簡單、最明顯的解決方案，并添加了“數(shù)字藝術作品”——沒有具體說明任何東西(圖09)。

I designed water colour paints, too, taking the PANTONE colour system as a basis for these. Unfortunately, I couldn't think up anything logical for the solvent and did not want to go into a complete fantasy, so I went for the most simple and obvious solution and added "For digital artworks" - not specifying anything in particular (Fig.09).

圖09

用我的畫筆、顏料、小物件等，我開始用手工填充顏料盒�？梢杂靡粋�反應堆或散點來達到這個目的，但是如果我想要的每一個物體的位置都沒有完全的控制，那么所有的東西都必須被修正。我花了很多時間來填充我的顏料盒，但至少我能夠控制每個物體的位置。為了讓物體看起來更自然一些，我試著這樣做，這樣物體的復制品就不會躺在一個角落里，也不會和其他東西放在一起。我特別注意這個藝術作品的這個階段，因為我知道最終的結果將取決于我如何和諧地把所有的物體都分散(圖10)。

Using my modelled brushes, paints, small things, etc., I began to manually fill the paint box with them. It was possible to use a reactor or a scatter for this purpose, but then there would not have been the full control over the position of each object that I wanted, and as a result everything would have had to be corrected. I spent a lot of time filling my paint box, but at least I was able to control the position of each object. In order to the objects look more natural, I tried to do it so that the copies of objects did not lie under a corner or on the same side as the viewers. I paid special attention to this stage of the artwork, knowing that the final result would depend on how harmoniously I scattered all objects (Fig.10).

圖 10

在填充顏料盒時，我開始了更大的物體的繪制。我還改變了在可見物體上的商標和名稱，而不是做廣告。所有的商標和名字都是虛構的(圖11)。

When paint box had been filled, I started the configurations of larger objects. I also changed trademarks and names on visible objects not to be engaged in advertising. All trademarks and names are fictional (Fig.11).

圖11