使用ZBrush制作機械師的工作流程

嗨，我叫Carsten，我想告訴你我的最新項目The Mechanic是如何創(chuàng)建的。 這個角色是一個個人項目，我在空閑的時間里一直在努力，結合一些技巧（我將在本文中討論）。 在塑造有機和技術物體以及物質和紋理如何在Substance Painter中形成，我們將看看我的工作流程。

Hi, my name is Carsten and I want to show you how my latest project The Mechanic was created. This character is a personal project which I have been working on in my free time in order to combine some techniques (which I will talk about in this article). We will look at my workflow when it comes to sculpting both organic and technical objects, and how materials and textures come into being in Substance Painter.

Some sketches

I had a relatively precise idea of how I wanted the /The Mechanic/ to look; bearded, strong and dressed in rough materials such as heavy leather and thick fabric. The mechanical hand, the neck brace glowing from the inside, tools, dirt, and oil stains ? I wanted all of these to feature in the final image as a reflection of his working and living environments.

I started by creating some sketches to get an idea of which hairstyle I would give him; a bald head seemed to fit best. I directly created the other objects e.g. the neck brace and clothing in ZBrush. Using my initial sketch, the head was sculpted from a simple DynaMesh Sphere and other standard tools ? the Standard, ClayBuildup, and Dam_Standard brushes. I tried not to get lost too much detail at this point.

一些草圖

我有一個比較精確的想法，我想要機械師看起來有胡子，堅強，穿著粗糙的材料，如重皮革和厚織物。 機械手，從內側發(fā)光的頸部支架，工具，污垢和油漬， 我想讓所有這些都在最后的形象中表現出來，反映了他的工作和生活環(huán)境。

我開始創(chuàng)造一些草圖來了解我會給他什么發(fā)型; 禿頭似乎最適合。 我直接創(chuàng)建了其他對象，例如在ZBrush里創(chuàng)建頸部支架和衣服。 使用我的初步草圖，頭像是從簡單的DynaMesh Sphere和其他標準工具雕刻出來的。 Standard，ClayBuildup和Dam_Standard畫筆。 在這一點上，我試著不要迷失太多的細節(jié)。

Accessory creation and detailing - a workflow example

The boots make a nice example to illustrate my workflow. After making the rough DynaMesh sketch of the boot, I load a ZSphere into the scenery and draw, vertex by vertex, the geometry of the new leather parts directly onto the surface of this sketch. I use the same method to give the boots the desired geometry. Making the details is pure diligence work and a mixture of leather-alphas and the Slash3 brush. I use this method for each of the other parts and continue to work, repeating these steps for each item of clothing.

A good tip is to use layers when doing the details; one layer for the basic structure, one for the folds, one for scratches and rips, and one for the seams. It would be very annoying if you wanted to change the basic structure after having put everything on top of each other without using layers!

附件創(chuàng)建和細節(jié) - 工作流示例

靴子是一個很好的例子來說明我的工作流程。 在制作粗糙的DynaMesh草圖后，我將ZSphere加載到風景中，并將頂點，新皮革部件的幾何圖形直接繪制到此草圖的表面上。 我使用相同的方法給靴子所需的幾何。 制作細節(jié)是純粹的勤奮工作，以及混合的皮革alphas和Slash3刷。 我使用這種方法制作每個其他部分，并繼續(xù)工作，重復這些步驟為每件服裝。

一個好的提示是在做細節(jié)時使用圖層; 一層是基本結構，一層用于折疊，一層用于劃痕和裂縫，一層用于接縫。 如果您希望在不使用圖層的情況下將所有內容放在一起，就要更改基本結構，這將非常煩人！

FiberMesh

The head also got a new topology and details. I used FiberMesh for the beard and the eyebrows; it was a bit of trial and error to find the right settings. I separated the beard into three segments to give each segment different hair length and thickness. With the use of masks you can fast and easily define these regions. I recommend playing around with the sharpness of the mask's edges to get a natural looking edge. Where the mask levels off, so does the FiberMeshes in length and thickness.

FiberMesh

頭部還有一個新的拓撲和細節(jié)。 我用FiberMesh做胡須和眉毛; 找到正確的設置是一個試驗。 我將胡須分成三段，以使每段不同的頭發(fā)長度和厚度。 使用面具，您可以快速，輕松地定義這些區(qū)域。 我建議用面具邊緣的清晰度來玩弄自然的邊緣。 在掩模水平的地方，纖維長度和厚度也是如此。

The mechanical hand

When designing the mechanical hand I needed to find something which fit the character but would not be too crude to carry out precision work. The approach is basically the same as before ? each part is made from a DynaMesh Sphere and gets a new topology before I start with the details. However, in this case I add one more working step. I assign different groups of polygons to the new topology before I add details. Then I use the Panel Loops feature to get a single object with material thickness from each group.

機械手

在設計機械手時，我需要找到適合人物的東西，但不能太粗糙地執(zhí)行精密工作。 這種做法基本上和以前一樣嗎？ 每個部分都是由DynaMesh Sphere制成的，在我開始細節(jié)之前，先獲得一個新的拓撲結構。 但是，在這種情況下，我再增加一個工作步驟。 在添加詳細信息之前，我將不同的多邊形組分配給新的拓撲。 然后我使用面板循環(huán)功能來獲取每個組中具有材料厚度的單個對象。

The fantastic ZModeler and the final mesh

Personally, this is the first project where I have had a bit more dealing with the ZModeler and it is truly exciting. Thanks to this tool I was able to create the complete geometry in ZBrush. The wrist, the tools, and the floating sphere were made from primitives through classic Boxmodeling and Dynamic Subdivision. I completely stinted on details in the surface for these parts to create them with Substance Painter later on. There is no particular reason for this it is just a different version of a workflow.

夢幻般的ZModeler和最終的網格

就個人而言，這是我第一個處理ZModeler的項目，真是令人興奮。 感謝這個工具，我能夠在ZBrush中創(chuàng)建完整的幾何體。 手腕，工具和浮球是通過經典的Boxmodeling和動態(tài)細分制成的。 我完全站在表面上的細節(jié)，以便這些部分隨后用Substance Painter創(chuàng)建它們。 沒有特別的理由，這只是一個不同的工作流版本。

The final mesh

I used the Transpose Master Zplugin to pose the final Mesh. Since it is only a single image I left out complex Rigging and a resolution fit for animation. The UV-Layout of the individual parts were also made in ZBrush. The possibility to generate UV-islands from Polygroups made the process easy and simple. Where this was not enough I used "Control Painting" of the UV Master Zplugin. Eventually, I exported a high-poly version of each part to bake my maps in Substance Painter. In the majority of cases (especially with hard-surface parts) the outcome is much cleaner than the normal maps which I could export from ZBrush directly.

最終的網格

我使用了Transpose Master Zplugin來構成最終的網格。 由于它只有一張圖像，所以我省去了復雜的索具和適合動畫的分辨率。 各個部件的UV布局也在ZBrush中制作。 從Polygroups生成UV島的可能性使得該過程變得簡單而簡單。 如果這還不夠我使用UV Master Zplugin的“控制畫”。 最終，我導出了高分子版本的每個部分，以在物質畫家中烘烤我的地圖。 在大多數情況下（特別是硬表面部分），結果比我可以直接從ZBrush輸出的正常地圖干凈得多。

Substance Painter

On the basis of the high-poly meshes I now let Substance Painter generate all the maps I need for texturing: AO, curvature and world space normals. Let me illustrate how I do this on two examples:

The skin gets:

A: a basic color

B: a layer with blemishes, irritations and veins

C: some shading where later on there will be hair and darker pores (a cavity map from ZBrush helps here)

D: color shades adequate to the different facial regions,

E: dirt and oil stains

Substance Painter

在高多邊形網格的基礎上，我現在讓物質畫家生成所有需要紋理的地圖：AO，曲率和世界空間法線。 讓我舉例說明我如何做兩個例子：

皮膚得到：

A：一種基本的顏色

B：有瑕疵，刺激和靜脈的層

C：一些陰影，稍后會有毛發(fā)和更深的毛孔（來自ZBrush的空心圖幫助這里）

D：適合不同面部區(qū)域的色調，

E：污垢和油漬

I want to show the construction of the clothing and the accessories exemplarily on the shoes:

A: a basic color

B: cloudy stains in the color and roughness channel for a natural look

C: discoloration of the leather in the depths and abrasion in the heights

D: a little correction of the color, a new material for the sole and seams

E: dust, sand and oil stains

Substance Painter offers many possibilities to mix materials with the help of previously created maps. In this case the curvature map helped to generate the abrasion and the world space normals to create the dust.

我想在鞋子上展示服裝和配飾的構造：

A：一種基本的顏色

B：多彩的污漬，顏色和粗糙的通道，以自然的樣子

C：皮革的變色深度和高度的磨損

D：一點修正的顏色，一種新的材料為鞋底和接縫

E：灰塵，沙粒和油漬

物質畫家提供了許多可能性，借助以前創(chuàng)建的地圖來混合材料。 在這種情況下，曲率圖有助于產生磨損和世界空間法線來產生灰塵。

Octane Render

I built the light setup in the HDR Light Studio starting with simple 3 point lighting, with some extra lights to emphasize individual parts. The base color map, roughness map and normal map control two glossy materials in Octane Render. One with an IOR of 1.5 (this can vary) and the other with 1. The metalness map controls the mixing ratio. Merely a cove serves as the background ... some bloom and glare... done!

Since Octane gives feedback promptly and renders live when creating materials, there is no virtuosic piling of render passes. I hope my little walkabout was helpful. If not, do not hesitate to drop me a line. I really appreciate comments, questions, suggestions and critique.

Octane渲染

我在HDR Light Studio中建立了燈光設置，從簡單的3點照明開始，還有一些額外的燈光來強調各個部分。 基礎顏色圖，粗糙度圖和法線貼圖控制Octane Render中的兩種光澤材料。 一個IOR為1.5（這可以變化），另一個與1.金屬圖控制混合比。 只有一個海灣作為背景...一些綻放和眩光...完成！

自從Octane在創(chuàng)建材料時立即給出反饋并提供實時渲染，沒有藝術性的渲染通道打樁。 我希望我的小步行是有幫助的。 如果沒有，請不要猶豫，放下我一條線。 我非常感謝評論，問題，建議和批評。