在ZBrush建造生物

Cameron Farn展示了用于設(shè)計他的大型物理雕塑的ZBrush管道

Cameron Farn reveals the ZBrush pipeline used in designing his large scale physical sculptures?

Exploring silhouettes

I usually start with a sphere, but it can be any primitive converted into a PolyMesh3D. I filled it with black and set it on a light grey background. Using various brushes such as the Move brush I pushed, pulled and warped the sphere into as many alien-looking body forms as possible, adding limbs and heads by duplicating the previous sphere or appending another. Once I'd found an exciting form I merged the spheres together into one SubTool and gave it a cool name.

As a tip, you should absolutely shred the polygons with this technique. Resist the urge to DynaMesh until you have a full figure, the hard edges of the overstretched polygons can give the form a nice read.

探索剪影

我通常從一個球體開始，但它可以是任何基元轉(zhuǎn)換成PolyMesh3D。 我用黑色填充，并將其設(shè)置在淺灰色的背景上。 使用“移動”畫筆等各種畫筆，將球體推，拉和扭曲成盡可能多的異形身材，通過復(fù)制前一個球體或追加另一個球體來增加肢體和頭部。 一旦我找到了一個令人興奮的形式，我將這些球合并成一個SubTool，并給它一個很好的名字。

作為一個提示，您應(yīng)該絕對使用這種技術(shù)切割多邊形。 抵抗DynaMesh的沖動，直到你有一個完整的數(shù)字，過度伸展的多邊形的硬邊可以給形式一個很好的閱讀。

Silhouettes are used to create form in the absence of detail and bring focus to the iteration process

剪影用于在沒有細節(jié)的情況下創(chuàng)建表單，并將重點放在迭代過程中

Bones

Having a good silhouette was a great start; it was then time to determine whether the form I created could support a skeleton. I inserted another sphere, filled it with an off-white, and used it to recreate each bone from various references. I placed each bone within the form to support aspects of limb-hinging, skull shape and organ packaging.

This is a non-destructive way of exploring whether the character, as it is represented by the silhouette, can stand, walk and move in the way I imagine. As the skeleton is built with function as a leading principle it began to tell me where and by how much the outer form needed to change.

骨骼

有一個好的剪影是一個偉大的開始; 現(xiàn)在是時候確定我創(chuàng)建的表單是否可以支持骨架。 我插入另一個球體，用灰白色填充，并用它從各種參考文獻中重新創(chuàng)建每個骨骼。 我將每個骨骼放在形式中，以支持肢體鉸鏈，顱骨形狀和器官包裝的方面。

這是一種非破壞性的方式，探索人物是否以輪廓表現(xiàn)，可以按照我想像的方式站立，行走和移動。 由于骨架是以功能為主導(dǎo)的原則，它開始告訴我外表需要改變多少和多少。...

Bones - everything hangs on them, including the success of a character

骨骼 - 一切掛在他們身上，包括一個角色的成功

Muscle

The skeletal system brought me closer to understanding how this character would function. I then looked at the muscular system to capture and hold it all together and added the underlying forms that would ultimately affect its final look. Using another appended sphere and filling it with a red value, I started to lay out the muscle systems, supporting my choices with references, and concentrating on range of motion, physique and function.

肌肉

骨骼系統(tǒng)使我更加了解這個角色將如何運作。 然后，我看著肌肉系統(tǒng)捕獲并將其全部保持在一起，并添加了最終影響其最終外觀的基礎(chǔ)形式。 使用另一個附加球體并填充紅色值，我開始布置肌肉系統(tǒng)，支持我的選擇參考，并集中在運動范圍，體質(zhì)和功能。

Bulking up the character to add function behind the form

填充字符以在表單后添加功能

Generating the skin

With the bone and muscle established under the surface I could then generate a more accurate skin. It was unlikely that the live silhouette had the topology to hold the next stage of forms, given how much it had been shredded and reorganized by DynaMesh.

To incorporate the illusion of skin thickness and other tissues or fatty deposits I needed to generate a new watertight skin to work from. I saved out my muscle system and merged the original with the skeletal system. I used the Unified Skin function to generate a suitable mesh and projected it over the muscle and skeletal forms to begin sculpting.

After I generated the unified skin I auto-grouped the SubTool and looked for loose parts I hid those I found and used the delete hidden button under Geometry/Modify Topology.

生成皮膚

隨著骨骼和肌肉建立在表面下，我可以產(chǎn)生更準確的皮膚。 鑒于DynaMesh已經(jīng)將其拆分和重新組織，現(xiàn)場剪影的可能性不大可能持續(xù)下一個階段的形式。

為了引入皮膚厚度和其他組織或脂肪沉積物的錯覺，我需要產(chǎn)生一種新的防水肌膚。 我救了我的肌肉系統(tǒng)，并將原來的骨骼系統(tǒng)合并。 我使用統(tǒng)一的皮膚功能來生成一個合適的網(wǎng)格并將其投射到肌肉和骨骼的形式上，開始雕刻。

生成統(tǒng)一的皮膚后，我自動分組SubTool并查找松散的部分，我隱藏了我發(fā)現(xiàn)的并使用幾何/修改拓撲下的刪除隱藏按鈕。

Generating the skin to prepare for the sculpting process

生成皮膚以準備雕刻過程

Fleshing out

It was then time to start building up the underlying tissue and fatty deposits. Depending on the nature of the character I'm trying to create I'll spend a lot of time with the selection of clay brushes and build up the deepest crevasses. I'll then add larger secondary forms to areas of compression under the arms and between the legs while building the forms to support suggested anatomy, such as mouths, ears and eyes.

My muscle and bone SubTools were kept in the model as I developed the sculpt so I could refer back to them while placing new forms.

充實

現(xiàn)在是開始建立潛在的組織和脂肪沉積物的時候了。 根據(jù)我想要創(chuàng)建的角色的性質(zhì)，我會花很多時間選擇粘土刷，并建立最深刻的裂縫。 然后，在構(gòu)建表單以支持建議的解剖結(jié)構(gòu)（例如口，耳朵和眼睛）的同時，將更大的次要形式添加到手臂和腿之間的壓縮區(qū)域。

我的肌肉和骨骼SubTools被保留在模型中，因為我開發(fā)了雕塑，所以我可以回到他們，同時放置新的形式。

Fleshing out the primary, secondary and tertiary forms of the creature

充分發(fā)揮生物的小學，中學和大學形式

ZRemesher and projection

Before I start applying the smallest forms or micro details, I like to produce a well organized and ready-to-go mesh. This helps to optimize the polygon flow and apply the details with little or no distortion, which can occur when applying them over an oddly stretched polygon layout. I duplicated my work to allow me to project back onto the new mesh. ZRemesher does a great job every time.

If I'm looking for more control over the flow, especially around the mouths or eyes, I will use the ZRemesher Guide brush to force the polygon flow into a direction I prefer, simply by drawing guides directly onto the mesh.

ZRemesher和投影

在我開始應(yīng)用最小的表格或微細節(jié)之前，我喜歡生產(chǎn)一個組織良好的即時網(wǎng)格。 這有助于優(yōu)化多邊形流動并應(yīng)用很少或沒有失真的細節(jié)，這可以在將它們應(yīng)用于奇怪的多邊形布局時發(fā)生。 我復(fù)制了我的工作，讓我回到新的網(wǎng)格。 ZRemesher每次都做得很好。

如果我正在尋找更多的流量控制，特別是在嘴巴或眼睛周圍，我將使用ZRemesher Guide畫筆來強制多邊形流向我喜歡的方向，只需將指南直接繪制到網(wǎng)格上即可。

Optimizing polygon flow to allow the model to take more detail

優(yōu)化多邊形流程以允許模型更多的細節(jié)

Refining

After ZRemesher and projecting, I took some time to review several areas like the hands, feet and face, to refine the sculpt, and do any clean up from errors that may have occurred during the projection.

This was good time to push all the forms a little further too, so that they could hold the details I apply in the next steps. I added volume and weight to the larger wrinkles with the Inflate, Clay and DamStandard brushes, which gave some reason behind my choices in placing the original forms. I tried to hit every area and bring the whole figure up to the next level. This stage took some time, but it was absolutely worth it to get as much out of concept as possible.

精煉

在ZRemesher和預(yù)測之后，我花了一些時間來審查幾個地方，如手，腳和臉，以細化雕刻，并做出任何清理可能在投影過程中發(fā)生的錯誤。

這是把所有形式進一步推進的好時機，以便他們可以掌握我在下一步中應(yīng)用的細節(jié)。 我增加了體積和重量與更大的皺紋與充氣，粘土和DamStandard刷子，這給了我的選擇背后的一些原因放置原始的形式。 我試圖打擊每一個地區(qū)，把整個數(shù)字提高到一個新的水平。 這個階段需要一些時間，但絕對值得讓它盡可能多地了解概念。

Refining passes are essential to add volume and gravity to the sculpt

精煉通行證對于增加雕塑的體積和重力至關(guān)重要

Micro Details

I like to use custom alphas for each character I create in Photoshop. Making my own helps to bring another layer of originality to my work, while making each of the characters unique from one another. Skin details, scars and imperfections add another level to the story I want to tell and gives my Red Sands characters the look of a life well-lived. I added these details after creating a HD subdivision level; mixing bumps, pores and micro wrinkles to achieve the illusion of skin.

I essentially apply diffusion no matter what the alpha. When I work at such a small scale, it will affect my specular highlights during renders so I checked the model from a distance by zooming out and changing the lights.

微小的細節(jié)

我喜歡為Photoshop中創(chuàng)建的每個角色使用自定義alpha。 讓我自己有助于為我的工作帶來另一層獨創(chuàng)性，同時使每個角色彼此獨特。 皮膚的細節(jié)，疤痕和瑕疵增加了我想告訴的故事的另一個層次，并給了我的紅沙字符一生的美好生活。 在創(chuàng)建高清細分級別后，我添加了這些細節(jié); 混合凸起，毛孔和微皺紋，以達到皮膚的幻覺。

我基本上應(yīng)用擴散，無論什么是alpha。 當我這么小的工作時，它會影響我的鏡面高光，所以我從遠處檢查模型，縮小和更改燈。

Layering micro-detail is key to creating a great model

分層微細是創(chuàng)建一個偉大的模型的關(guān)鍵

Polypaint

Polypainting is one of my most favorite parts of a project. The character is fully formed and ready to be given a push over the edge of realism with a splash of color.

I use many techniques to apply Polypaint, from projected textures with spotlight, to straight hand painted touches using the many masking options within ZBrush. Being flexible and experimental generally provides my best results. Sometimes I'll work through the subdivisions from low to high applying color with the spray stroke and alpha 22. It blurs and builds some nice variations in patterns and color intensity.

Using color is great, but creating skin patterns or markings of some type help to enhance the impression the character will leave. So I did some research and added a little extra where necessary.

Polypaint

Polypainting是我最喜歡的項目之一。 這個角色是完全形成的，隨時可以用現(xiàn)實主義的色彩推翻。

我使用許多技術(shù)來應(yīng)用Polypaint，從投影紋理與聚光燈，直接手繪觸摸使用ZBrush中的許多屏蔽選項。 靈活和實驗一般提供了我最好的結(jié)果。 有時候，我將通過從低到高應(yīng)用顏色的細分與噴霧沖程和α22進行工作。它模糊并在圖案和顏色強度方面構(gòu)建了一些不錯的變化。

使用顏色是偉大的，但創(chuàng)建一些類型的皮膚圖案或標記有助于增強人物離開的印象。 所以我做了一些研究，并在必要的地方加了一點額外。

Taking the color and detail over the top with Polypaint and Spotlight

用Polypaint和Spotlight將頂部的顏色和細節(jié)

Fibres

The fibre system in ZBrush allows for additional touches that really push the realism. I used them to spread fine hairs across the surface of my sculpt, and to create the large hairs and quills on Thill's back. Although the smaller hairs were not useful when exporting my characters to be milled 5' tall, for the painting and design work it added a great deal of appeal.

I tested all my fibres on a simple sphere and saved them out to become personal hair presets. I found it better to adjust all my settings before applying them to my character as it was much quicker to test and adjust at that time.

纖維

ZBrush中的光纖系統(tǒng)允許額外的觸摸，真正推動現(xiàn)實主義。 我用他們將精美的毛發(fā)穿過我雕塑的表面，并在蒂爾的背上創(chuàng)造出大頭發(fā)和羽毛。 雖然較小的頭發(fā)在出口我的角色要磨成5'高時并不有用，但對于繪畫和設(shè)計工作，它增添了很大的吸引力。

我在一個簡單的球體上測試了所有的纖維，并將它們保存成個人頭發(fā)預(yù)設(shè)。 我發(fā)現(xiàn)更好地調(diào)整我的所有設(shè)置，然后將其應(yīng)用到我的角色，因為當時更快的測試和調(diào)整。

Applying fibre tests to the character

對人物進行光纖測試

Posing and variation

Posing is entirely story-driven and made with a narrative in mind. I began by adjusting the trunk using the hips as an anchor. I followed with the chest, legs and arms, moving outward toward the extremities. Transpose Master is my tool of choice for any project with a great number of SubTools, and as the adjustments become finer, I revert back to using simple masking and the transpose action line.

擺姿勢

擺姿勢是完全以故事為導(dǎo)向，以敘述為核心。 我開始通過使用臀部作為錨點調(diào)整軀干。 我跟著胸部，雙腿和雙臂向外移動到四肢。 Transpose Master是任何有大量SubTools的項目的首選工具，隨著調(diào)整越來越精細，我恢復(fù)了使用簡單的掩碼和轉(zhuǎn)置動作行。

Getting a great pose using the Transpose Master

使用Transpose Master獲得一個偉大的姿勢

Rendering and compositing

For me, the shift from sculpting to rendering out a scene is a jarring one. To keep things rolling I'll often build a ZBrush studio scene using a polysphere to predefine the light caps, materials and BPR settings with its filters. I have several studios saved out as projects where I can start a sculpt or import a sculpt, so it becomes a matter of minor lighting and filter changes to achieve a good result. In the case of Thill I started in a premade studio and as the sculpt evolved I made changes to the shadow, AO, blur depth, lighting intensities and their color.

A good final painting relies on getting a good render so I spent time producing the best one I could in the time I'd blocked out for myself. Breaking the render into additional passes, separating lights, color, depth, spec highlights etc, gave me more flexibility when doing the final composite. As a student of theatre, I also like to add an element of texture and grit back into the render using photos as well as several painting passes by hand to bring the final design images to a close.

I did small renders first with a low sub pixel setting, and made sure I was happy before cranking up the document size and sub-pixel depth to my machine's max and committing it to an evening of chewing out a render. Most of my renders take overnight or longer to complete. When it was complete, I exported the document along with all the BPR passes.

渲染和合成

對我來說，從雕刻到渲染場景的轉(zhuǎn)變是一個令人震驚的變化。為了保持滾動狀態(tài)，我將經(jīng)常使用聚合物構(gòu)建一個ZBrush工作室場景，以通過其過濾器預(yù)先定義燈頭，材料和BPR設(shè)置。我有幾個工作室作為項目保存，我可以開始雕刻或?qū)�入雕刻，所以它成為輕微的照明和過濾器變化的問題，以獲得良好的結(jié)果。在Thill的情況下，我開始在一個預(yù)制的工作室，隨著雕刻的演變，我改變了影子，AO，模糊深度，照明強度和顏色。

一個好的最終的繪畫依靠得到一個好的渲染，所以我花了時間生產(chǎn)最好的一個，我可以在我被阻止了自己的時間。打破渲染成額外的通行證，分離燈光，顏色，深度，規(guī)格亮點等，在做最后的復(fù)合時給了我更多的靈活性。作為劇院的學生，我也喜歡使用照片添加紋理和砂紋的元素，還可以通過手繪幾個繪畫，將最終的設(shè)計圖像關(guān)閉。

我以低子像素設(shè)置做了小渲染，并確保我在將文檔大小和子像素深度加載到我的機器的最大值之前確定我很開心，并將其提交到咀嚼渲染的晚上。我的大部分時間過夜或更長時間才能完成。完成后，我將文件與所有BPR通行證一并匯出。

A studio scene with settings and lighting already established helps to maintain a respectable pace

已經(jīng)建立的設(shè)置和照明的工作室場景有助于保持一個可觀的步伐

Final accessories

Accessories include elements of scenery, additional characters, weapons, gear and bases. Each one is added to enrich the story and fill out the scene. I spend as much time designing these elements as I do creating a character in many cases. Most are destined for the milling machine and full scale reproduction along with the character, so they need to hold up in terms of design aesthetic and quality.

最終配件

配件包括風景，附加角色，武器，裝備和基地的元素。 添加每一個以豐富故事并填寫現(xiàn)場。 我花了很多時間設(shè)計這些元素，因為我在許多情況下創(chuàng)建了一個角色。 大多數(shù)都注定了銑床和全尺寸再現(xiàn)的特點，所以他們需要堅持設(shè)計的審美和質(zhì)量。

Various accessories to work with the character; Thill

各種配件與人物配合

Final images

Thill; the final character placed in a scene.

最終圖像

直到 最后一個角色放在場景中。