使用ZBrush創(chuàng)建卡通人物

都柏林的3D建模師Paul Deasy分享了他的創(chuàng)作過程，在ZBrush創(chuàng)建一個卡通人物...

Dublin based 3D modeler Paul Deasy shares his creation process for creating a cartoon character in ZBrush...

In this making of article I will go through my process from start to finish showing how I made the character sculpt, Mouse. I will go through the steps of my process and the tools which I use for each of them. Once done, I will talk briefly about my process when rendering my character.

在這篇文章的制作中，我將通過我的過程從開始到完成顯示我如何做字符雕刻。 我將展示我的創(chuàng)建過程的步驟和我使用的工具。 一旦完成，當呈現(xiàn)我的性格,我將簡要地談談我的過程。

Step 1: Creating the base mesh.

I decided to use a concept by Samuel Youn as a base for this project. I always make a base mesh for each new character, unless I have a tight deadline. For me, the base mesh is a very important part of the whole process as it creates the look and feel of the character. This step will decide the overall shapes and silhouette of the character. I started with primitives and kept them all separate so I would have ease of control when finding the primary forms. In ZBrush I used the Insert Sphere brush to place a sphere, separated it into new SubTools, and hit ZRemesh (for which I created a shortcut key for as I use this very often). I pulled it into shape where needed, for example the cranium and jaw are two different SubTools, and the nose is another. I continued this process down the whole body - this helped me to easily move each part without affecting the other parts, a well as leave a crisp line where each SubTool intersects. In the examples you can see the quick base mesh I made, showing how the body is split into different SubTools.

步驟1：創(chuàng)建基本網格。

我決定使用Samuel Youn的一個概念作為這個項目的基礎。我總是為每個新字符做一個基本網格，除非我有一個緊張的截止日期。對我來說，基礎網格是整個過程的一個非常重要的部分，因為它創(chuàng)造了人物的外觀和感覺。這個步驟將決定角色的整體形狀和輪廓。我開始制作，并讓他們分開，所以我將在找到主要形式時輕松控制。在ZBrush我使用插入球體刷放置一個球體，分離它到新的SubTools，并打ZRemesh（為此我創(chuàng)建了一個快捷鍵，因為我經常使用）。我把它拉成所需的形狀，例如顱骨和下頜是兩個不同的SubTools，鼻子是另一個。我繼續(xù)這個過程在整個身體 - 這幫助我輕松移動每個部分，而不影響其他部分，留下一個線，每個SubTool相交。在示例中，您可以看到我做的快速基本網格，顯示如何將主體拆分為不同的SubTools。

The original concept by Samuel Youn

Samuel Youn的原始概念

A quick head sculpt

快速雕刻

Step 2: Finding nice shapes

At this point I referred back to the concept checking it against my model to make sure all the shapes were correct. Here I was looking for what I couldn't see in the concept and where they would be in 3D shape, e.g. what does her face look like straight on? The concept only shows it from a side view. I needed to be aware of the shape following the 2D while making sure it still looked good from a front view. Where you can sometimes cheat in 2D, you really can't get away with in 3D. In the concept her neck was described with broad strokes, but for the 3D I needed it to be more anatomically correct and to give her neck structure. I was conscious that it still read with the same shape language as the concept and that her neck worked anatomically, while still fitting to the simplistic style. Once I had all these shapes in place, I had a good sense of the character's personality.

步驟2：找到好的形狀

在這一點上，我提到了檢查它對我的模型的概念，以確保所有的形狀是正確的。 在這里，我在尋找我不能看到的概念，他們將在3D形狀，例如。 她的臉怎么樣？ 該概念僅從側視圖示出。 我需要知道2D之后的形狀，同時確保它仍然從前視圖看起來很好。 有時候你可以欺騙2D，你真的不能逃脫3D。在概念上她的脖子用粗線條的描述，但對于3D我需要更正確的解剖學和給她頸部的結構。 我意識到它仍然讀取相同的形狀語言作為概念，她的頸部解剖工作，同時仍適合簡單化的風格。 一旦我有這些形狀，我有一個很好的感覺的性格的個性。

Step 3: Clothing and hair

At this stage I wanted the whole mesh to be one, but I also keep it in parts for posing, so I merged the visible (SubTool > Merge) which put everything together in a new tool. I then applied DynaMesh to the merged basemesh and then ZRemesher; this allowed me to use this mesh for masking and extracting the character's clothing. When I extracted the clothing the first thing I did was to isolate the inner faces that were closest to the basemesh's surface. I then deleted the hidden faces and flipped the normal of what was remaining so it faced outwards; this often needs to be inflated so it's not inside the model. This left me with a one sided mesh that I ZRemeshed as low as possible which helps with getting the correct shape. Using the ZModeler brush I extruded out the thickness of the cloth and added in the support edges for when I subdivide. At this stage I also added in the hair using the Insert Sphere brush and pulled it around with the Move brush, followed by some ZRemeshing.

步驟3：服裝和頭發(fā)

在這個階段，我想要整個網格是一個，但我也保留它的部分擺弄，所以我合并了可見（SubTool>合并），把所有的東西放在一個新的工具。然后我將DynaMesh應用于合并的basemesh和ZRemesher;這允許我使用這個網格掩蔽和提取角色的服裝。當我提取衣服，我做的第一件事是隔離最接近basemesh的表面的內部面。然后我刪除了隱藏的面孔，翻轉了剩下的東西，使它面向外面;這通常需要膨脹，所以它不在模型內。這讓我有一個單面網格，ZRemeshed盡可能低，有助于獲得正確的形狀。使用ZModeler刷子，我擠出了布的厚度，并添加在支撐邊緣，當我細分。在這個階段，我還使用Insert Sphere刷子添加在頭發(fā)中，并用Move刷子拉動它，然后是一些ZRemeshing。

Step 4: Refining the model and posing

This step took the longest! With all the elements of the model sculpted I needed to add all the details and made sure the whole thing read well. I checked all the curves to make sure there are no parallel forms etc. Next I posed the model, I felt a subtle pose would be best rather than a really dynamic one, also I thought she would be on a ship. Posing the model was quite easy because I had all the parts on separate SubTools; I simply moved around the SubTools to get the look I wanted. I then DynaMeshed all the parts to get a single piece, such as meshing the fingers on to the hands, and the hands on to the arms. I followed this up with some smoothing and minor corrections where needed. I modeled a very simple stage for her to stand on to add to the narrative of the piece.

步驟4：精煉模型和構成

這一步花了最長的時間！ 有了模型的所有元素雕刻我需要添加所有的細節(jié)，并確保整個讀得好。 我檢查了所有的曲線，以確保沒有平行形式等。接下來我提出了模型，我覺得一個微妙的姿勢是最好的而不是一個真正動態(tài)的，我也認為她會在船上。 構建模型是相當容易，因為我有獨立的SubTools的所有部分; 我只是移動SubTools來獲得我想要的外觀。 然后DynaMeshed所有的部分，以獲得一個單一的，如手指上的手，手上的手臂。 我跟著這一點有一些平滑和微小的修正， 我模仿了一個非常簡單的舞臺，她站著，增加了這件作品的敘事。

Step 5: Decimation

Once I was happy and ready to move on to rendering I used the Merge Visible option to avoid having SubTools with the same name because preprocessing for decimation sends out an error message if any names are the same. I decimated the model as low as possible without the triangles becoming visible; this allows Maya to handle it better so the lower I could get it the better, as I was going to be making a lot of little tweaks and changes when moving lights around and changing the shaders and I really didn't want to have to sit around and wait every time I changed something! When going into Maya, I use a file called Render room that I import my models into to change my lights and shaders.

步驟5：抽取

一旦我很高興，準備好繼續(xù)渲染，我使用合并可見選項，以避免SubTools具有相同的名稱，因為預處理的抽取發(fā)送出錯消息，如果任何名稱相同。 我把模型盡可能低，沒有三角形可見; 這使Maya能夠更好地處理它，所以更低的我可以得到它更好，因為我會做很多小的調整和變化時移動燈光和更改著色器，我真的不想坐 周圍，等待每次我改變了東西！ 當進入Maya時，我使用一個名為Render room的文件，我將我的模型導入到更改我的燈光和著色器。

Step 6: Final touches

Once the model was in Maya I needed to scale it and start setting up my render. I used a simple three light set up within a cube. I flipped the normal on the cube and in the settings turned off cast shadows so I could place the lights outside of it, which would still shine through the cube. I had one area light; I didn't use a spherical area light but rather a large rectangular light to get a nice soft lighting from one direction. Then I added a warm primary light and a cold back light to complement each other. I set the box color with the bounced light in mind as this needed to work with the color of the lights and also the feel of the character. I went with a bright and lively background as I imagined her on a ship at the sea, and then for the full body render I imagined the same thing but at night. Once all the lighting was sorted I took it all into Photoshop to make a few final value and color tweaks, and with that I was finished.

第6步：最后的接觸

一旦模型在Maya里，我需要擴展它，并開始設置我的渲染。 我使用一個簡單的三燈設置在一個立方體內。 我翻轉了立方體的正常，在設置關閉投下陰影，所以我可以把它的光，它仍然照耀通過立方體。 我有一個區(qū)域的光; 我沒有使用球面光，而是一個大的矩形光，從一個方向得到一個很好的柔和的照明。 然后我添加了一個溫暖的主光和一個冷背光，互相補充。 我設置了盒子的顏色與反彈光，因為這需要工作與燈的顏色和字符的感覺。 我用明亮和活潑的背景去了，我想象她在海上的一艘船上，然后為了充分的身體渲染，我想象了同樣的事情，但在晚上。 一旦所有的燈光排序，我把它全部進入Photoshop做一些最終的價值和顏色調整，與我完成了。