zbrush制作流程

在本教程中，我將嘗試解釋使用ZBrush進(jìn)行速度雕刻時(shí)所遵循的步驟和工作流程; 從初始封鎖階段到最終的渲染和呈現(xiàn)。

In this tutorial I will try to explain the steps and workflow I follow when speed-sculpting with ZBrush; from the initial blocking stage to the final render and presentation.

Step 1

In most cases I start with a single 64 poly sphere. I find that that is the perfect shape to start almost every model, especially characters. I started by molding out the general shape with the Move Brush set with default parameters.

At that stage, it was just a rough draft, so I was free to experiment with proportions. The main goal was to preserve the general aspect of my initial ideas, so I sculpted as such so as not to lose his personality.

步驟1

在大多數(shù)情況下，我從一個(gè)單一的64多球體開始。 我發(fā)現(xiàn)這是幾乎每一個(gè)模特，特別是人物開始的完美形狀。 我通過使用默認(rèn)參數(shù)設(shè)置的移動(dòng)畫筆來模制一般形狀。

在這個(gè)階段，這只是一個(gè)粗暴的草稿，所以我可以自由地嘗試比例。 主要目標(biāo)是保持我的初步想法的一般方面，所以我雕刻了這樣的一個(gè)方面，以免失去他的個(gè)性。

Step 2

I also began to analyze what anatomy elements I need and any special processes that might be required in each feature.

In this character, two of the most prominent aspects are the face and the big horns. To create them, I started with the MaskPen to select their sources, selected Invert Selection to make everything fixed except these areas, and then started to work with ClayBuild and Move brushes to pull out the mesh.

第2步

我也開始分析我需要的解剖元素，以及每個(gè)功能中可能需要的任何特殊過程。

在這個(gè)角色中，兩個(gè)最突出的方面是面孔和大角。 要?jiǎng)?chuàng)建它們，我從MaskPen開始選擇它們的源，選擇“反轉(zhuǎn)選擇”以使除了這些區(qū)域之外的所有內(nèi)容都被修復(fù)，然后開始使用ClayBuild和Move畫筆來拉出網(wǎng)格。

Step 3

I then needed to work with the Dynamesh tool to rebuild the mesh parts, (though the polygon density will change dramatically when we start to stretch it). The initial set values of the Dynamesh resolution is not particularly high (64). So when I needed to work on more detailed areas, like the face and neck, I found it was necessary to jump to a resolution of 80.

I continued working on the neck, shoulders and torso in the same way I did for the horns (mask tool and Move/ClayBuild and Dynamesh). I defined the boundaries and initial proportions for the mouth, eyes and head.

That concluded the blocking stage.

步驟3

然后，我需要使用Dynamesh工具來重建網(wǎng)格部分（雖然當(dāng)我們開始拉伸時(shí)，多邊形密度會(huì)發(fā)生劇烈變化）。 Dynamesh分辨率的初始設(shè)置值不是特別高（64）。 所以當(dāng)我需要在更詳細(xì)的地方工作時(shí)，像臉和脖子，我發(fā)現(xiàn)有必要跳到80的分辨率。

我繼續(xù)在脖子，肩膀和軀干上工作，就像用喇叭（面具工具和Move / ClayBuild和Dynamesh）一樣。 我定義了嘴，眼睛和頭部的邊界和初始比例。

結(jié)束了阻塞階段。

Step 4

I then used QRemesher, ZBrush's fantastic tool to clean the mesh and rebuild it. In this image you can see the before and after shots of this process. Dynamesh usually generates triangles and unwanted structure in some areas of the mesh, so with the higher subdivision level, artefacts will appear.

The solution to this is using QRemesher. I made a first attempt with the "Same" parameter active ("Same" means the same polygon account in the initial and final mesh). If some parts lose their definition, you can active "Double" parameters, or use the "Target Polygons Count" to tell the program the final density. In my case "Same" was my perfect solution.

步驟4

然后我使用了QRemesher，ZBrush的奇妙工具來清理網(wǎng)格并重建它。 在此圖像中，您可以看到此過程的前后拍攝。 Dynamesh通常在網(wǎng)格的某些區(qū)域生成三角形和不需要的結(jié)構(gòu)，因此在較高的細(xì)分級(jí)別，將出現(xiàn)人工制品。

解決方案是使用QRemesher。 我首次嘗試使用“Same”參數(shù)有效（“Same”表示初始和最終網(wǎng)格中相同的多邊形帳戶）。 如果某些零件失去了定義，您可以激活“Double”參數(shù)，或使用“Target Polygons Count”來告訴程序的最終密度。 在我的情況下，“相同”是我完美的解決方案。

Step 5

After that I divided the sculpture into polygroups. This allowed me to work on each part individually. This procedure was very simple with the symmetry activated. I made a selection that encompassed the horns (with Select Lasso Mode) to highlight them. I then went to polygroup panel and clicked Polygroup Visible, (for both the face and the body) to isolate each part.

步驟5

之后，我將雕塑分成多組。 這允許我單獨(dú)處理每個(gè)部分。 這個(gè)過程非常簡(jiǎn)單，對(duì)稱激活。 我做了一個(gè)選擇，包括喇叭（使用選擇套索模式）來突出顯示它們。 然后我去了聚合組面板，然后點(diǎn)擊Polygroup Visible（面團(tuán)和身體），以分離每個(gè)部分。

Step 6

After that, I allocated the sculpture the first subdivision level and began adding more detail to the face mouth, eyes and shoulders of the character. To do that, I used the following brushes (I admit that these ones are perfect to work in almost any speed sculpt, the secret is being able to use each one appropriately). I drew general lines with DamStandard, using my base as a guide to know where to sculpt deeply. I then used ClayBuild to build the general forms and finally, Flatter/Polish to get more clean and defined surfaces.

步驟6

之后，我分配了雕塑的第一個(gè)細(xì)分級(jí)別，并開始向角色的嘴巴，眼睛和肩膀添加更多的細(xì)節(jié)。 為了做到這一點(diǎn)，我用了以下的畫筆（我承認(rèn)這些是完美的工作幾乎任何速度雕刻，秘密是能夠適當(dāng)?shù)厥褂妹恳粋�(gè)）。 我用DamStandard繪制了一般線條，用我的底座作為指導(dǎo)，知道在哪里雕刻深刻。 然后我使用ClayBuild來構(gòu)建一般形式，最后，F(xiàn)latter / Polish來獲得更干凈和定義的表面。

Step 7

To generate the T-Shirt, I made a mask with the MaskPen tool and extracted the geometry (using Subtool panel /Extract) with a minimum thick value of 0.01. A new subtool was created with this new mesh. Around this point, approximately 80% of the character was done, and I just wanted to complete the character with respect to the original concept proportions and stance.

步驟7

為了生成T恤，我用MaskPen工具制作了一個(gè)面具，并用0.01的最小厚度值提取幾何圖形（使用Subtool面板/ Extract）。 使用這個(gè)新的網(wǎng)格創(chuàng)建了一個(gè)新的子工具。 在這一點(diǎn)上，大概80％的角色都是完成的，我只想完成原來的概念比例和立場(chǎng)的角色。

Step 8

It was then time to focus on the horns. I began by making the main breaks in the base with Orb_Cracks1. This brush is useful to create clean cuts with sharp profiles. After that, I used the Flatten brush to get flat surfaces.

Snake Hook brush helped me to get the spiraled shape at the end of the horn (I had to subdivide the subtool again as the mesh was stretched in this process. This helped me to increase the detail level in next level.

步驟8

現(xiàn)在是時(shí)候關(guān)注角。 我開始用Orb_Cracks1在基地做主要休息。 該刷子可用于創(chuàng)建具有銳利輪廓的清潔切割。 之后，我使用Flatten刷子來獲得平坦的表面。

蛇鉤刷幫助我在喇叭的末端得到螺旋形的形狀（我在此過程中必須再次細(xì)分子工具，因?yàn)榫W(wǎng)格被拉伸，這有助于我提高下一級(jí)的細(xì)節(jié)水平。

Step 9

To create the teeth and eyebrows I made the mask selection and extract process as before, but in this case I increased the thickness value, so as not to use the Dynamesh tool. You can see the brushes used in the next images (SnakeHook, Inflat and Move). I subdivided once and used the Pinch brush to sharpen the tips and used the same to create the eyebrows. SnakeHook alone was used for the chin hairs.

This character is not going to be used for animation so I preferred to sculpt the eyes in the same mesh and not as individual objects.

At that point, I could say that my sculpt was finished! I only had to make a good presentation. To get that final finished look, I chose to render it with 3DMax and V-Ray. The first was to make a unique subtool. Remember that I had a subtool for the head and horns, another ones for the teeth, eyebrows and T-Shirt (each had their own subdivision levels), but If I wanted to use Decimation Master I had to make a single object in the highest subD level.

步驟9

為了創(chuàng)建牙齒和眉毛，我做了以前的面具選擇和提取過程，但在這種情況下，我增加了厚度值，以免使用Dynamesh工具。您可以看到下一個(gè)圖像中使用的畫筆（SnakeHook，Inflat和Move）。我細(xì)分了一次，并使用捏刷來銳化提示，并使用相同的方式來創(chuàng)建眉毛。 SnakeHook單獨(dú)用于下巴頭發(fā)。

這個(gè)角色不會(huì)用于動(dòng)畫，所以我更喜歡在相同的網(wǎng)格中雕刻眼睛，而不是像個(gè)別的對(duì)象。

那時(shí)候我可以說我的雕刻完成了！我只需要做一個(gè)很好的演示。為了獲得最后的完成外觀，我選擇使用3DMax和V-Ray渲染它。第一個(gè)是制作一個(gè)獨(dú)特的工具。記住，我有一個(gè)頭和角的子工具，另一個(gè)用于牙齒，眉毛和T恤（每個(gè)都有自己的細(xì)分級(jí)別），但是如果我想使用Decimation Master，我必須使一個(gè)單一的對(duì)象在最高子級(jí)別。

Step 10

I used Subtool Master Tool and Merge box with the next parameters. After that, I was ready to apply decimation Master to optimize the mesh (2% of decimation was enough to preserve details). I exported it as an .OBJ file and imported into 3D Studio Max to work in the setup.

It was an easy but efficient setup. I used a V-Ray Material with V-Ray Dirt in the diffuse channel, with defined colors (which is completely reliant on personal taste, of course) in occluded and unocludded boxes. I made sure that ambient occlusion mode was active.

步驟10

我使用Subtool主工具和合并框與下一個(gè)參數(shù)。 之后，我準(zhǔn)備應(yīng)用抽取大師優(yōu)化網(wǎng)格（2％的抽取就足以保存細(xì)節(jié)）。 我將它導(dǎo)出為.OBJ文件并導(dǎo)入到3D Studio Max中以進(jìn)行設(shè)置。

這是一個(gè)簡(jiǎn)單而有效的設(shè)置。 我在彌漫通道中使用了具有V-Ray Dirt的V-Ray材料，具有定義的顏色（當(dāng)然，完全依賴于個(gè)人口味）在閉塞和未包含的盒子中。 我確保環(huán)境遮擋模式是活動(dòng)的。

Step 11

The light setup was made with a Vraylight in dome mode and a composite map. This composite map contained the HDRI maps information. I rotated the HDRI orientation, so I could get different looks in the key and secondary lights. For the final rendering, I used V-Ray as the render engine (with the GI activated, and the irradiance map for primary bounces and light cache for secondary. The list of parameters is shown in the image.

步驟11

燈光設(shè)置是使用Vraylight在圓頂模式和復(fù)合地圖。 該復(fù)合地圖包含HDRI地圖信息。 我旋轉(zhuǎn)了HDRI的方向，所以我可以在關(guān)鍵和二次燈光下得到不同的外觀。 對(duì)于最終渲染，我使用V-Ray作為渲染引擎（GI激活，主要彈跳的輻照度圖和次要的光cache），參數(shù)列表顯示在圖像中。

Step 12

My final model and image bust is as shown here, alongside a full body model of the Demon character in a lit yellow render.

步驟12

我的最終的模特和形象胸圍如這里所示，與一個(gè)點(diǎn)燃的黃色渲染中的惡魔角色的全身模特。