zbrush角色插畫制作

如何結(jié)合3D雕塑和數(shù)字繪畫，完成的pinup-ish插圖！ 對于本教程/概述，您需要使用ZBrush和Photoshop。

Read along for a quick 10-step overview of how I combine 3D sculpts and digital painting to make a finished pinup-ish illustration! For this tutorial/overview you'll need ZBrush and Photoshop. (As much as the title and intro sound like a recipe for some exotic dessert, I promise it isn't!)

Step 1: The sculpt: phase 01

Start from a sphere, basemesh, kitbash, whatever works for you! Gather up those references and spend most of your time establishing the volumes and proportions at this phase of the sculpt. It's always a good idea to work from larger shapes and to let that trickle down into smaller shapes as you go. In this case I started from a low-res Dynamesh sphere.

步驟1：造型：階段01

從一個球體，basemesh，kitbash開始，無論你是做什么工作的！收集這些參考資料，花你大部分的時間建立在這個階段的造型的體積和比例。它總是一個好主意，從更大的形狀工作，并且隨著你的流逝讓它流入更小的形狀。 在這種情況下，我從一個低分辨率的Dynamesh球面開始。

Step 2: The sculpt: phase 02

Once you have dialed in as much of the design as you can with symmetry, it's time to pose the model and refine any artifacts that might have produced. In this case she was posed with the help of Transpose Master. Also I was testing out the custom matcap I've now come to use for base-sculpts, but in this case with a super pronounced cavity transition and color bump to get those crisp edge definitions without spending time sculpting them. And it works!

步驟2：造型：階段02

一旦你在設計中盡可能多地使用對稱性，那么就應該提出模型并改進可能產(chǎn)生的任何工件。在這種情況下，她是在轉(zhuǎn)置大師的幫助下擺好姿勢的。此外，我正在測試我現(xiàn)在用于基礎(chǔ)雕刻的定制matcap，但在這種情況下，超級明顯的腔轉(zhuǎn)換和顏色凸起可以獲得清晰的邊緣定義，而不用花時間雕刻它們。

Step 3: Render passes

This is one of my favorite parts of the process; setting up the lighting, BPR filters, etc., to get the base-sculpt closer to where I want to take the illustration. Sidenote, of course you could use other rendering solutions if you don't prefer ZBrush's rendering system! (Personally, I love it!) If you're not fully certain which passes you'd need, try them all out! It'd help understand how you can mix and match them, and if you don't need one you can always discard it later.

One other thing to check at this point is the document size (affects perspective distortion) inside ZBrush. For test renders I keep the document size at the default resolution but once the render parameters are dialed in, I'd resize the document to better present the illustration.

步驟3：渲染通道

這是我最喜歡的部分之一，設置燈光，BPR過濾器等，使基地雕塑更接近我想采取的插圖。另外，如果不喜歡ZBrush的渲染系統(tǒng)，你可以使用其他渲染解決方案！ （個人，我喜歡它！）如果你不完全確定你需要哪個通行證，可以嘗試一下！ 這有助于了解如何混合搭配，如果不需要，可以隨時丟棄。

另此處需要檢查的另一件事是ZBrush內(nèi)部的文檔大�。ㄓ绊懲敢暿д妫�。 對于測試呈現(xiàn)，我將文檔大小保持為默認分辨率，但是一旦渲染參數(shù)被調(diào)入，我將調(diào)整文檔的大小以更好地呈現(xiàn)插圖。

Step 4: Compositing in Photoshop

Using the ZBrush to Photoshop CC plug-in will automate the process of rendering and exporting all the selected render passes, import them all as layers inside one document and organize them as groups. Like all the base color layers in one, the lighting passes in another, shadow/AO passes in yet another and so on! If you need any passes that aren't in the plug-in you could always render and export it manually and load that into the Photoshop document.

After that's done, it's time to start messing about with blending modes and comping the various passes to fine tune the render. Usually my focus here is to fine tune the colors to have a good starting point for when I begin the paintovers. As a general guide for comping passes use additive modes (Screen, Linear Dodge, etc) for lighting/specular passes, and multiply/darken (sometimes Soft Light works too) for shadowy passes!

步驟4：在Photoshop中合成

使用ZBrush到Photoshop CC插件將自動化渲染和導出所有選定的渲染過程的過程，將它們?nèi)�部導入一個文檔中的圖層，并將其組織成組。 像所有的基色層一樣，照明通過另一個，陰影/ AO通過在另一個等等！ 如果您需要任何不在插件中的通行證，您可以隨時手動呈現(xiàn)和導出，并將其加載到Photoshop文檔中。

完成之后，現(xiàn)在是開始混合混合模式的時候了，并配合各種傳遞來微調(diào)渲染。 通常我的這個焦點是微調(diào)顏色，以便在我開始疼痛時有一個很好的起點。 作為通行指南，通過使用添加模式（屏幕，線性道奇等）進行照明/鏡面光圈，以及乘法/變暗（有時還可以使用Soft Light）進行陰影通過！

Step 5: Liquefy time!

After fine tuning the colors, lights, and shadows in the render, duplicate the group with all the layers and merge down the group. This will make further manipulations on the render much simpler!

Once you have the model posed, framed and composited the way you want it, you may want to nudge around the shapes and proportions a little to better fit the needs of the illustration. The Liquify filter inside Photoshop is excellent for this purpose! Think sculpting but in a 2D image. Alternatively you might prefer to simply apply paint to make those changes. Me? I abuse the liquify tool, haha.

步驟5：液化時間！

微調(diào)渲染中的顏色，光線和陰影后，復制具有所有圖層的組，然后合并組。 這將進一步操縱渲染更簡單！

一旦你提出了模型，框架和合成的方式，你想要它，你可能想要輕輕一點的形狀和比例，以更好地適應插圖的需要。 Photoshop中的液化過濾器非常適合此目的！ 想想雕塑，但在2D圖像。 或者，您可能更喜歡簡單地應用涂料來進行這些更改。

Step 6: Let the paintovers begin!

Now you can let loose and paintover the render to tighten up areas, change shapes, add details, etc. Oh, and yup, I did decide to have the image flipped at the compositing stage. While the sculpt worked on its own the mirrored version looked more appropriate for the purposes of this illustration. And for most of the painting process I used the default brush with a square tip.

步驟6：讓paintovers開始！

現(xiàn)在，您可以loose和paintover的渲染，收緊區(qū)域，改變形狀，添加細節(jié)等。哦，而且，我決定在合成階段翻轉(zhuǎn)圖像。 雖然雕刻工作自己的鏡像版本看起來更適合這個例證的目的。 而對于大部分的繪畫過程，我使用了一個方形提示的默認畫筆。

Step 7: Let's not forget the background

Ah, my arch-nemisis. Painting clouds is 80% therapeutic and 20% torturous. Working from abstract colors to progressively smaller and refined shapes really helped me in this step. Alternatively you could use photobashing or even image sampled brushes, but that's a personal preference! In my case I figured I might as well give it a go and see if I'd want to do more of it in the future. And I do!

第七步：讓我們不要忘記背景

啊，我的拱門 繪畫云是80％治療和20％曲折。從抽象的顏色到逐漸細化的形狀真的幫助了我這一步�；蛘吣憧梢允褂胮hotobashing甚至圖像采樣刷，但這是個人喜好！ 在我的情況下，我想我可能會去看看我是否想在未來做更多的事情。

Step 8: More paintovers!

Flipping the canvas periodically helps refresh your perception to see more of the mistakes and areas that can be improved upon. It may also be worth it to take a break from the image for a day, work on something else and to come back to it! Getting the hair shapes to look appealing and still have it feel like flowing hair is what I spent a lot of time on at this point in the illustration. My reference here? Alphonse Mucha!

步驟8：更多的paintovers！

定期翻轉(zhuǎn)畫布有助于刷新你的感知，看到更多的錯誤和可以改進的地方。從一天的圖像中休息一下，做點別的事情，然后再回到過去，這也是值得的！在這一點上，我的頭發(fā)花的形狀看起來很吸引人，而且仍然感覺像流動的頭發(fā)，我花了很多時間在這一點上。我在這里參考 Alphonse Mucha！

Step 9: Finalizing and tying things together

Refine things! We're almost there! Make sure all the areas in focus have nice tight shapes. Sprinkle in some details strategically to guide the image through the image. Also make sure to leave some well-placed resting spaces so the viewer's eyes don't wander off the edges of the image! (Haha, that's devious, I know.)

步驟9：把事情結(jié)合在一起

優(yōu)化東西！ 我們差不多了！ 確保焦點中的所有區(qū)域均具有良好的緊密形狀。 在戰(zhàn)略上撒上一些細節(jié)，以引導圖像通過圖像。 還要確保留下一些放置良好的休息空間，這樣觀眾的眼睛就不會在圖像邊緣徘徊！

Step 10: Finishing up!

Now to tie up all the loose ends. Adding layers of lens FX, color dodging to make highlights pop, flyaways around hair, etc., now is the time to stack in all of those! I also like at the end to duplicate and flatten all the layers and run it through the sharpen and noise filters to wrap things up.

第10步：完成！

現(xiàn)在把所有的零碎結(jié)合。 增加鏡頭FX層，色彩躲閃，使突出流行，頭發(fā)周圍的飛行等，現(xiàn)在是堆疊在所有這些！ 我也喜歡最后復制并壓平所有的層，并通過銳化和噪聲過濾器來運行它來包裝。