在ZBrush雕刻的怪獸

歡迎來到我的ZBrush教程中，我將展示我如何設(shè)計(jì)，造型，紋理和渲染生物胸圍從A到Z的過程中，使用ZBrush的，Photoshop和Marmoset Toolbag 2軟件。本教程將介紹這些主要流程：草圖，建模，貼圖和渲染。

我們將涵蓋生物素描，靈感來源，底座雕刻，雕刻先進(jìn)和微觀細(xì)節(jié)。然后，我們將創(chuàng)建的UV和渲染實(shí)時(shí)模型的Marmoset Toolbag 2，用Photoshop將進(jìn)行最后的潤色了。

Welcome to my ZBrush tutorial, in which I will be covering the process of how I design, sculpt, texture and render a creature bust from A to Z, using the ZBrush, Photoshop and Marmoset Toolbag 2 software. The tutorial will cover these main processes: sketching, modeling, texturing and rendering.

We will cover creature sketching, inspiration sources, base sculpting, advanced sculpting, and micro detailing. Then we'll create UVs and render the model in real-time in Marmoset Toolbag 2, before adding the final touches with Photoshop.

Step 01: Sources of inspiration

The first thing I do before starting to design a creature is get inspired, whether by something I did in the past or by any type of interesting image I come across while searching for inspiration. In this case I decide to use a resin bust I sculpted and painted as the source of reference, but keep in mind that later on I could drastically change the design or incorporate some more sources of inspiration. This is one of the most important steps in creature creation.

步驟01：靈感來源

我開始設(shè)計(jì)一個(gè)生物前做的第一件事是獲得靈感，不管我過去做過什么，還是我在尋找靈感時(shí)遇到的任何有趣的圖像。在這種情況下，我決定使用樹脂胸圍我雕刻和彩繪作為參考來源，但請(qǐng)記住，以后我可以徹底改變?cè)O(shè)計(jì)或合并的靈感更多資源。這是在生物創(chuàng)作中最重要的步驟之一。

用作此生物基礎(chǔ)的樹脂造型

Step 02: Sketching from a sphere

I start to play with a PolySphere and add just a few levels of subdivision in order to pull and push the geometry. In this phase I am not concerned at all with details, just with trying to create a very basic shape that's similar to the reference image. This should be a very relaxing phase. The more excited you get with the basic sketching, the more beautiful your design will look like at the end. And it's just a matter of having fun, brainstorming and sparking your passion while moving vertices and big chunks of low-res polygons. Two PolySpheres popped inside the geometry as the eyes concludes this step.

步驟2:草圖從一個(gè)球體開始

我開始使用PolySphere，以推拉的幾何體添加細(xì)分短短的水平。在這個(gè)階段，我不關(guān)心所有細(xì)節(jié)，只是試圖創(chuàng)建，它類似于參考一個(gè)很基本的形狀形象。這應(yīng)該是一個(gè)非常輕松的階段。你的基本素描得到越興奮，越美麗你的設(shè)計(jì)在最后看起來越好。而且它只是一個(gè)有樂趣，頭腦風(fēng)暴，引發(fā)你的激情之事，而移動(dòng)頂點(diǎn)低分辨率多邊形大塊，兩個(gè)PolySpheres彈出幾何內(nèi)視眼總結(jié)這一步。

用一種球的初始造型粗糙

Step 03: Finishing the base mesh

Now that we're happy with our messy blocked-out shape, we'll use ZRemesher on it in order to get a clean topology. In this way I can move the proportions without being concerned about pulling and pushing geometry too much.

We are still very low res so, even though we ZRemeshed our model, we are not yet ready to pull and push the proportions too much, but we can finalize our base mesh, trying to stick with our reference image, moving vertices around and trying to end up with something we like.

步驟03：完成基礎(chǔ)網(wǎng)格

現(xiàn)在我們滿意凌亂了形狀,我們將使用ZRemesher為了得到一個(gè)干凈的拓?fù)洹＿@樣我就可以移動(dòng)的比例而不擔(dān)心拉和推動(dòng)幾何太多。

我們?nèi)匀环浅５�，既如此，即使我們zremeshed我們的模型，我們還沒有準(zhǔn)備好推拉的比例太多，但我們可以完成我們的基地，要堅(jiān)持我們的參考圖像，移動(dòng)頂點(diǎn)，并試圖結(jié)束了自己喜歡的東西。

ZRemeshing和整理基礎(chǔ)網(wǎng)格

Step 04: Adding subdivision levels

Now that we have some more resolution and geometry to work with, let's start building up some basic facial features with the Clay brush. This process is crucial for the next steps since we will then sculpt finer and finer forms around the basic facial anatomy that I am sculpting at this level of subdivision, which is still pretty low res but enough for a nice facial foundation. Before adding a new level of subdivision, I observe the model from every possible angle changing the light position to see how it looks like from different directions.

步驟04：添加細(xì)分級(jí)別

現(xiàn)在，我們有一些更高的分辨率和幾何的工作，讓我們開始建立一些基本的五官與粘土刷，這個(gè)過程是下一個(gè)步驟至關(guān)重要，因?yàn)閷脮r(shí)我們會(huì)雕刻圍繞基本面部解剖結(jié)構(gòu)越來越精細(xì)的形式，我在這個(gè)級(jí)別的細(xì)分，這仍然是相當(dāng)?shù)退畮靺s足以讓一個(gè)漂亮的面部基礎(chǔ)正在雕刻。在添加細(xì)分的一個(gè)新的水平，我觀察到從各個(gè)可能的角度模式改變光的位置，看看它的樣子不同方向。

添加細(xì)分級(jí)別，并開始雕刻的基本形式

Step 05: More subdivision levels

After adding a new level of subdivision I instantly see the basic forms smoothed out. The resolution is still low but I can start to flesh out smaller shapes, using both the clay brush and the standard brush. I don't want to stress the geometry too much right now, so I keep smoothing and refining the forms I have sculpted on the previous level of subdivision, adding some new smaller forms to our facial anatomy.

Moving the lights around, I can clearly see this guy is starting to get some personality. Of course, I sculpt with symmetry on for now to save time. This is not clay so since we have the chance to use symmetry...why make our life harder? I might decide to make his face asymmetrical when finished or to just leave it symmetrical. Let's see what happens.

步驟05：更多細(xì)分級(jí)別

加細(xì)分的一個(gè)新的水平后，我立即看到基本形式理順，分辨率仍然較低，但我可以開始割肉出局較小的形狀，同時(shí)使用粘土刷子和標(biāo)準(zhǔn)的畫筆。我不想強(qiáng)調(diào)幾何太多的權(quán)利，所以我一直在平滑和細(xì)化我在細(xì)分的上一級(jí)雕塑形式，增加了一些新的更小的形式，我們的面部解剖。

移動(dòng)周圍的燈光，我可以清楚地看到這家伙已經(jīng)開始得到一些個(gè)性。當(dāng)然，我的造型和對(duì)稱性對(duì)現(xiàn)在節(jié)省時(shí)間。這不是粘土如此，因?yàn)槲覀儽仨毷褂脤?duì)稱的機(jī)會(huì)...為什么要我們的生活困難？我可能會(huì)決定使他的臉不對(duì)稱的成品或剛剛離開它時(shí)，對(duì)稱，讓我們看看會(huì)發(fā)生什么。

細(xì)分的另一個(gè)層面顯示更加的幾何形狀，這意味著......更多樂趣

Step 06: Refining the face

I add a new level of subdivision and now we start to get a denser and more smooth geometry. At this phase it's still too early to think about adding details, so I will focus on refining even more the features I sculpted before and I'll evaluate the surface in order to decide if I should change some features or leave them like they are. It's always hard to decide when you start to see your model come to life, but since I can't sit forever in front of ZBrush. I decide to slightly change a few facial features using the move brush and the smooth brush.

步驟06：精煉臉部

我加細(xì)分的一個(gè)新的水平，現(xiàn)在我們開始變得更密集，更流暢的幾何結(jié)構(gòu)。在這個(gè)階段，它仍然為時(shí)過早考慮增加細(xì)節(jié)，所以我將重點(diǎn)放在更精煉的特點(diǎn)，甚至更多我之前雕刻的特點(diǎn)，我會(huì)研究表面，以決定我是否應(yīng)該改變某些功能。它總是很難決定什么時(shí)候你開始看到你的模型來生活,但是因?yàn)槲也荒苡肋h(yuǎn)坐在ZBrush的面前。我決定稍微改變一些面部特征使用移動(dòng)筆刷和平滑筆刷。

開始細(xì)化五官和雕刻較小的形狀

Step 07: First detail pass

Now I hit subdivide again and I finally start to see a pretty dense mesh. The geometry right now is very smooth and I can start to finalize the facial features and sculpt the first pass of details. At this point, since this is not the final level of subdivision, I won't use alpha maps to sculpt pores and micro details, but I start to add smaller shapes to my creature.

As I sculpt and move the light around, shooting a few quick renders, I can see that the creature is starting to look more and more realistic. Sculpting lip details, nose details, eye socket wrinkles and so on makes this process even more exciting, because right now I know exactly the direction I want to take. I decide to change his facial anatomy, getting inspiration from Marcus of Underworld: Evolution - in my opinion the best vampire design that's ever been made. So I mix the features of my source reference image with some new inspiration, and I end up with something I really like.

步驟07：第一次細(xì)節(jié)傳遞

現(xiàn)在我打算再次細(xì)分，我終于看到一個(gè)非常密集的網(wǎng)格。幾何現(xiàn)在是非常順利，我就可以開始敲定五官和造型細(xì)節(jié)的第一道關(guān)口。在這一點(diǎn)上，因?yàn)檫@不是最終的細(xì)分的水平，我不會(huì)用alpha貼圖來雕刻氣孔和微細(xì)節(jié)，但我開始更小的形狀，添加到我的生物。

正如我雕刻和移動(dòng)的光，拍攝了幾個(gè)簡(jiǎn)單的呈現(xiàn)，我可以看到，生物開始看起來越來越逼真。雕刻嘴唇的細(xì)節(jié)，鼻子細(xì)節(jié)，眼圈皺紋等，使這一過程更加精彩，。因?yàn)楝F(xiàn)在我知道確切的方向我想利用我決定改變他的面部解剖，從冥界演化馬庫斯得到靈感 - 在我看來，最好的吸血鬼的設(shè)計(jì)，是有史以來取得所以我混我的源的特點(diǎn)參考上圖與一些新的靈感，而我最終的東西我真的很喜歡。

制作的細(xì)節(jié)和一些重大變化的第一道關(guān)口，以面部解剖

Step 08: Refining the forms

Now that I'm on the final level of subdivision I will just focus on refining each shape I see, and make sure the entire model looks sharp and ready for micro detailing. With the Smooth brush at 25% intensity, I slowly start to smooth everything out, paying attention not to erase or wash out some of the smaller forms.

This is a very important phase before adding micro details. The reason? If you have very smooth and flowing anatomy, your micro details will look natural and realistic. Make sure you spend some good amount of time on this phase and don't rush immediately onto micro detailing. I know that micro detailing is a fun and exciting process but make sure your anatomy looks neat and sharp first. Otherwise your micro details will look weird and not very natural.

步驟08：精煉的形式

現(xiàn)在，我在細(xì)分我只會(huì)專注于煉每個(gè)形狀我看，并確保整個(gè)模型看上去尖銳而準(zhǔn)備的微細(xì)節(jié)。在25％強(qiáng)度的平滑刷的最后一級(jí)，我慢慢開始平穩(wěn)所有的東西，注意不要?jiǎng)h除或洗出一些較小的形式。

這是前加入微量的細(xì)節(jié)。原因很重要的階段嗎？如果你有非常光滑，流動(dòng)解剖，你的微細(xì)節(jié)看起來自然逼真。請(qǐng)確保您在這個(gè)階段一定的時(shí)間量好，不要馬上趕去到微觀細(xì)節(jié)。我知道微細(xì)節(jié)是一個(gè)有趣和令人興奮的過程，但請(qǐng)確保您的解剖看起來整潔和銳利的第一，否則你的微觀的細(xì)節(jié)，看起來奇怪，不是很自然。

細(xì)分的最終水平和完善的形式

Step 09: Adding the first pass of micro details

So here we are. The model is almost complete. Almost? Yes, because I still need to put some love on it. And this love is called 'micro detailing'. I gather a bunch of alphas around the net and create a few myself using Photoshop (they don't need to be high resolution for this detailing purpose) and slowly start to add pores, veins, wrinkles, and so on, to the creature's face and neck. Be careful, though - an overdose of tiny details will make your model look really bad since its facial anatomy will be covered with too many details and this won't look good at all on the final render. Not to mention that it's gonna be impossible to texture.

The key here is: patience and a keen eye on nature. If you are not sure on how to properly add a detail, look at reference images and study how wrinkles and pores are laid out on human skin. This may be a monster, but I use the same method I'd use if I was sculpting a human face.

步驟09：添加微細(xì)節(jié)第一遍

所以，我們?cè)谶@里。該模型幾乎是完整的，幾乎嗎？是的，是的,因?yàn)槲疫�需要放一些愛。而這種愛被稱為“微細(xì)節(jié)”。我收集了一堆圍繞凈阿爾法。使用Photoshop（他們并不需要成為這個(gè)細(xì)節(jié)的目的高分辨率），并慢慢開始增加毛孔，紋理，皺紋，等等，對(duì)生物的臉和脖子要小心，雖然 - 的微小細(xì)節(jié)過量會(huì)讓你的模特大賽非常糟糕因?yàn)樗�的面部解剖結(jié)構(gòu)將太多的細(xì)節(jié)覆蓋，這將不會(huì)好看在所有的最終渲染。更何況，它會(huì)是不可能的質(zhì)感。

這里的關(guān)鍵是：耐心和對(duì)自然的敏銳的眼睛。如果你不知道如何正確補(bǔ)充一個(gè)細(xì)節(jié)，看看參考圖像，并研究如何皺紋和毛孔都在人體皮膚奠定了這可能是一個(gè)怪物，但我用的，如果我是雕刻人臉我會(huì)用同樣的方法。

加入微細(xì)節(jié)第一遍

Step 10: Preparing for texture painting

This is the last step of the modeling stage. At this point the model is almost complete, so I will focus on finishing the micro detail pass, spraying and dragging different types of alpha maps onto the creature's face without covering the first detail pass. I want texturing to be fun and exciting and not stressful. If I'd cover up details with other details I would end up having a weird-looking creature, and so texturing it would be an almost impossible task.

Micro detailing is important, but remember not to cover your model entirely with super high-resolution sharp details, otherwise you won't be able to texture it properly since usually texturing tends to cover up a good percentage of the detail you sculpted. I move the light around, shoot another few renders and evaluate the surface and what I've done so far.

I start sticking to a reference image and then changed my mind using more reference images to give my creature a more unique and pretty look. If we can call him 'pretty'! This being said, I am more than happy with my model, so let's jump to step 11 and get ready for texturing, UV making and rendering.

第10步：準(zhǔn)備紋理繪畫

這是建模階段的最后一步。在這一點(diǎn)上的模式幾乎是完整的，所以我會(huì)專注于完成微細(xì)節(jié)傳球，噴灑和拖動(dòng)不同類型的α映射到該生物的臉上沒有覆蓋第一細(xì)節(jié)傳球。我希望紋理是有趣和令人興奮的，而不是壓力。如果我掩蓋其他細(xì)節(jié)我會(huì)最終有一個(gè)看起來怪怪的生物，所以紋理這將是一個(gè)幾乎不可能完成的任務(wù)的詳細(xì)信息。

微細(xì)節(jié)很重要，但切記不要用超高分辨率的清晰的細(xì)節(jié)完全覆蓋你的模型，否則你將不能夠因?yàn)橥ǔ＜y理往往掩蓋了你雕刻細(xì)節(jié)的良好的百分比。我移動(dòng)到正確的紋理它光身邊，拍再過渲染和評(píng)估面和我到目前為止已經(jīng)完成。

我開始堅(jiān)持一個(gè)參考圖像，然后使用多個(gè)參考圖像給我的生物更獨(dú)特和漂亮的外觀改變了主意。如果我們可以叫他'漂亮'！這是說，我很樂意與我的模型比較多，所以讓我們跳步驟11，準(zhǔn)備紋理，UV制作和渲染。

整理生物造型，并正準(zhǔn)備紋理繪畫

Step 11: Color coating

The first thing I usually do before starting a very detailed texture is to evaluate the sculpted details and decide on a color palette. In this case, since the mesh is quite detailed, our texture will make our sculpted details scream and look cinematic. Once I have chosen the color palette I start spreading some basic colors around the mesh using the Standard brush. At this stage I already know what he's going to look like at the end, but I spend quite some time experimenting with the basic colors I choose. This is one of the most important steps in texture painting. If you start to paint details already you'll most likely end up with a complete disaster.

第11步：彩色涂層

我開始非常詳細(xì)的紋理前通常要做的第一件事是評(píng)估雕刻細(xì)節(jié)，并決定一個(gè)調(diào)色板。在這種情況下，由于網(wǎng)格是相當(dāng)詳細(xì)，我們的紋理將使我們的雕刻細(xì)節(jié)尖叫和看電影。有一次，我選擇調(diào)色板我開始使用標(biāo)準(zhǔn)畫筆散布各地的網(wǎng)狀一些基本的顏色。在這個(gè)階段，我已經(jīng)知道他是怎么回事的樣子底，但我花了不少的時(shí)間與基本顏色我選擇這個(gè)實(shí)驗(yàn)是在紋理繪畫最重要的步驟之一。如果你開始畫細(xì)節(jié)已經(jīng)你最有可能有一個(gè)完整的災(zāi)難告終。

彩色涂層

Step 12: Basic texturing

Now that we have our basic coating done we can proceed with adding softer hues and start to play with colors, making sure we keep using our color palette choice. Too many different colors would look weird and give the character a very unrealistic look. This process can take quite some time even though it's very simple. Evaluate your base colors and choose colors that suit them. Of course, happy accidents could happen, so don't forbid yourself to 'dare' using just a few other colors. But make sure you don't end up with your texture looking like the Arlecchino of Venezia.

第12步：基本紋理

現(xiàn)在，我們有我們的基本的涂層做，我們可以添加柔和的色調(diào)進(jìn)行，并開始與顏色的發(fā)揮，確保我們繼續(xù)使用我們的調(diào)色板的選擇，太多不同的顏色會(huì)顯得怪異，給角色一個(gè)非常不現(xiàn)實(shí)的樣子。這個(gè)過程可以采取，即使它很簡(jiǎn)單很長一段時(shí)間。評(píng)估你的基色，并選擇適合他們。當(dāng)然，幸福的意外可能發(fā)生的顏色，所以不要阻止自己'敢'只使用一些其他的色彩。但要確保你的紋理看上去像威尼斯的Arlecchino。

加入更多的顏色的底涂層

Step 13: Stop to evaluate

At this stage we are still very simple with our colors and hues, but I do have an idea of what he will look like at the end, so I spend some time just observing each angle of my sculpt and brainstorming on how I will approach the next phase of texture painting. He needs some more color before we can move on to a more advanced stage.

步驟13：停止評(píng)估

在這個(gè)階段，我們還是很簡(jiǎn)單的與我們的顏色和色調(diào)，但我確實(shí)有他的樣子在最后一個(gè)想法，所以我花了一些時(shí)間只是觀察我如何將接近我的造型和頭腦風(fēng)暴的每個(gè)角雕刻下一個(gè)階段，他需要更多的顏色，才可以移動(dòng)到一個(gè)更高級(jí)的階段。

用于紋理化的下一步評(píng)估表面

Step 14: Adding more color detail

I will now proceed to add some more color variations, slightly breaking the basic color scheme I had before. I won't be going crazy right now because it's still too early to start adding intricate details, though I'm going to add more hues and start to paint the cavities with darker colors. The key is to make sure your sculpted details won't be covered with color since you want them to be visible on your final image. So paint carefully and make sure you're not obscuring important sculpted details.

第14步：添加更多的色彩細(xì)節(jié)

現(xiàn)在我會(huì)繼續(xù)添加更多的色彩變化，略微突破了基本的配色方案，我以前了。我不會(huì)，因?yàn)楝F(xiàn)在它仍然太早開始添加復(fù)雜的細(xì)節(jié)快要瘋了，但我會(huì)添加更多的色彩并開始與較深的顏色來畫腔，關(guān)鍵是要確保您的雕刻細(xì)節(jié)將不會(huì)與色彩所覆蓋，因?yàn)槟阆胨麄兪悄愕淖罱K圖像上可見，所以認(rèn)真作畫，并確保你沒有掩蓋重要雕刻的細(xì)節(jié)。

增加額外的變化，以調(diào)色板

Step 15: Advanced texturing

Now I have a decent-looking base texture with some nice color variations. As you can see, I didn't use many colors, just the ones I decided at the beginning, from blue/purple to yellow/brown. I start to refine them and to add more contrast and detail to the creature. I boost up the light colors and darken the darker colors in order to have a more cinematic and realistic-looking texture. I also add a few details here and there, preparing myself for the final and super-detailed pass.

第15步：高級(jí)紋理

現(xiàn)在我有一個(gè)體面的尋找基礎(chǔ)紋理與一些漂亮的顏色變化。正如你所看到的，我并沒有使用很多顏色的，只是那些我決定開始，從藍(lán)/紫到黃/棕色。我開始細(xì)化他們，并以更高的對(duì)比度和細(xì)節(jié)添加到動(dòng)物，我提高了光的顏色和變暗較暗的顏色有更多的電影和逼真的質(zhì)感。我還添加了一些細(xì)節(jié)在這里和那里，準(zhǔn)備自己的最終，超詳細(xì)的通行證。

推進(jìn)紋理繪畫的一個(gè)新的水平

Step 16: Finishing texture painting

Right now our creature looks good but it's time to start adding some real love to him.

So, always using the Standard brush, I start to refine each cavity of my sculpt. I paint more hues and blend more colors together (always working with the same general color palette) and detail up the skin with some alpha maps and some intricate patterns.

Keep in mind that, even while painting very detailed textures, you don't have to fill your sculpt with crazy details because you'd end up ruining your paint job. Texture must be very detailed but also rational.

This means your sculpted data must be visible underneath otherwise, when shading and lighting your design, it'll just look strange and fakish. This process is the longest one since I can go on painting for hours. And it's the most enjoyable one. At least for me!

第16步：完成紋理paintingStep

目前我們的生物看起來不錯(cuò)，但現(xiàn)在是時(shí)候開始添加一些真正愛他。

所以，總是使用標(biāo)準(zhǔn)刷，我開始改進(jìn)我的造型的每個(gè)空腔內(nèi)。我畫更多的色彩和混合多種顏色在一起（總是以相同的一般調(diào)色板工作）和細(xì)節(jié)了一些阿爾法地圖和一些復(fù)雜的圖案皮膚。

請(qǐng)記住，即使畫很細(xì)致的紋理，你不必填寫瘋狂的細(xì)節(jié)造型，因?yàn)槟阕罱K會(huì)毀了你的油漆工作。質(zhì)地必須非常詳細(xì)，但也在情理之中。

這意味著你的雕刻數(shù)據(jù)必須是可見的下方，否則，當(dāng)陰影和照明設(shè)計(jì)時(shí)，它會(huì)只是看起來很奇怪和fakish，這個(gè)過程是最長的一個(gè)，因?yàn)槲铱梢匀ギ嬃藥讉�(gè)小時(shí)，而且它是最愉快的。在至少對(duì)我來說！

超先進(jìn)的紋理階段

Step 17: Finishing texture painting

The texturing is finished but I don't start creating UVs yet. I always make sure everything looks right before taking the sculpt to an external renderer (in this case, Marmoset Toolbag 2). I start to orbit around the finished and textured sculpt and check if everything looks fine and sharp.

It's common to find some areas that might be not as detailed as others, and in this case you can just keep texturing. But for a client presentation I am pretty happy with what I have, so I don't feel like I need to add anything else because if I'd add too many different patterns, I could end up with a result I don't like.

第17步：完成紋理繪畫

紋理完成，但我不開始創(chuàng)建的UV呢。我總是確保一切正確服用造型到外部渲染之前（在這種情況下，狨Toolbag2）。我開始圍繞軌道成品和質(zhì)感的造型和檢查，如果一切正常，清晰。

這是常見的發(fā)現(xiàn)，可能是沒有盡可能詳細(xì)，其他一些地區(qū)，在這種情況下，你可以只保留紋理。但是，對(duì)于一個(gè)客戶介紹我與我有什么很高興，所以我不覺得我需要添加別的，因?yàn)槿绻�我想補(bǔ)充太多不同的模式，我可以用我不喜歡的結(jié)果告終。

表面再次評(píng)估檢查，如果一切看起來銳利

Step 18: Creating UVs with ZBrush

Now that my sculpt is ready I'll create some UVs using ZBrush's amazing plugin UV Master. The steps are very simple. I open UV Master and click on 'Work on clone'. This will create a low-res clone of my high-res model. I then activate 'Enable control painting'. In this way I'm able to protect the front part of my creature. I will use symmetry and paint the area I want to protect by activating 'Protect'. You will see the color's gonna be red.

I will then paint the back of my sculpt, activating 'Attract', and the color will be blue. Make sure you leave a blank space between the two colors otherwise the UV won't generate properly.

Once finished, I generate the UV map and copy and paste it back onto my high-res finished sculpt. Now the UVs are done! Simple as lifting 130 kg on your shoulders when doing squats at the gym. (At least that's very easy for me!)

第18步：使用ZBrush創(chuàng)建UVs

現(xiàn)在，我的造型已經(jīng)準(zhǔn)備好，我會(huì)創(chuàng)建一個(gè)使用ZBrush的驚人插件UV掌握一些的UV。步驟非常簡(jiǎn)單。我打開紫外線法師，然后點(diǎn)擊“在克隆工作”，這將創(chuàng)造我的高一低分辨率克隆資源的模式。我然后激活“啟用控件畫”。就這樣，我能保護(hù)我的生物的前部。我會(huì)用對(duì)稱性和油漆我想通過激活“保護(hù)”，以保護(hù)該地區(qū)，你會(huì)看到顏色的會(huì)是紅色的。

然后，我將我的畫造型的后面，激活“吸引”，且顏色為藍(lán)色。確保你離開兩種顏色，否則紫外線將無法正確生成之間有空格。

一旦完成后，我產(chǎn)生的紫外線地圖，復(fù)制并粘貼回來到我的高清晰度成品造型，現(xiàn)在的UV完成！

創(chuàng)建具有ZBrush的紫外線UV的大師

Step 19: Exporting to Marmoset Toolbag 2

Now that I have my finished sculpt with UVs, I proceed to exporting a normal map, a diffuse map, an ambient occlusion (AO) map, and the base mesh as an OBJ file. For the purpose of this tutorial I won't be exporting a displacement map since it's not needed.

I choose 6K as the maps' size so that every sculpted and painted detail will look sharp in Marmoset Toolbag 2. Before jumping into Marmoset Toolbag 2, I create a specular map in Photoshop and shrink the size of it down to 2K since it doesn't need to be ultra high resolution. I also import my base OBJ in Maya and soften up the normals, so that I'll have a smooth base OBJ and won't have any issues with Marmoset Toolbag 2 when loading the maps.

Now I'll jump into Marmoset Toolbag 2 (in my opinion the best real-time renderer out there). Steps are very easy here. I create a new skin shader and load the maps I exported into the corresponding slots. I play with specularity, glossiness and other settings making sure everything looks good. Once I have done this I simply add three lights, play with their position and give them a light bluish color in order to add a cinematic look to my sculpt.

步驟19：導(dǎo)出到Marmoset Toolbag 2

現(xiàn)在，我有我的UV成品造型，我繼續(xù)導(dǎo)出法線貼圖，漫反射貼圖，環(huán)境閉塞（AO）的地圖，以及基本網(wǎng)格為OBJ文件。對(duì)于本教程的目的，我也不會(huì)因?yàn)樗�并不需要�?dǎo)出置換貼圖。

我選擇6K的地圖“的大小使每一位雕刻和彩繪的細(xì)節(jié)會(huì)顯得清晰的Marmoset Toolbag 2

跳進(jìn)Marmoset Toolbag 2之前，我在Photoshop中創(chuàng)建一個(gè)高光貼圖，縮小它的大小到2K，因?yàn)樗黡oesn'噸需要進(jìn)行超高分辨率。我也匯入我基地在OBJ Maya和軟化的法線，這樣我就會(huì)有一個(gè)平滑的基礎(chǔ)OBJ和加載地圖時(shí)不會(huì)有任何問題與Marmoset Toolbag 2。

現(xiàn)在，我將進(jìn)入Marmoset Toolbag 2（在我看來最好的實(shí)時(shí)渲染出來那里）。步驟是很容易在這里。我創(chuàng)建了一個(gè)新的皮膚著色器，我出口地圖加載到相應(yīng)的插槽中。我使用鏡面反射，光澤度等設(shè)置，確保一切看起來不錯(cuò)。當(dāng)我這樣做，我只是添加三盞燈，用他們的立場(chǎng)玩耍，給他們以增加電影的外觀造型我一個(gè)淺藍(lán)的顏色。

從導(dǎo)出的ZBrush的地圖，Marmoset Toolbag 2

Step 20: Finishing the image

So this is the last part of my tutorial and, to be honest, I'm a bit sad since I really enjoyed making it and wanted to do much more! Once I'm happy with the lighting I export two renders of my creature and load them up in Photoshop. Playing with the light levels, adding some contrast and painting some quick eyes finishes up my project.

I now have two cinematic looking realtime renders that are ready for client presentation. This concludes my ZBrush tutorial. I hope you had a blast reading it like I had a blast doing it. As you've seen, it's just a matter of enjoying what you're doing. If you really like your final result, then it means you did the right thing. Happy ZBrushing everyone!

第20步：完成圖像

所以這是我的教程的最后一部分，說實(shí)話，我有點(diǎn)難過，因?yàn)槲艺娴暮芟矚g使得它和想要做的更多！有一次，我很高興與照明我出口2使我生物和裝載它們?cè)赑hotoshop中，與燈光亮度播放，添加一些對(duì)比度和畫一些簡(jiǎn)單的眼神完成了我的項(xiàng)目。

我現(xiàn)在有兩個(gè)影院看實(shí)時(shí)渲染的，可用于客戶端的呈現(xiàn)。我就此結(jié)束ZBrush的教程，我希望你有一個(gè)爆炸讀它像我有一個(gè)爆炸這樣做。正如你所看到的，它只是一個(gè)享受的事情是什么你在干什么。如果你真的很喜歡你的最終結(jié)果，那么就意味著你做了正確的事情。ZBrushing使大家快樂！

遮陽，照明和準(zhǔn)備在Marmoset Toolbag 2和Photoshop最終圖像

最后圖像