“奧利舒特耶和幽靈”的制作

我將分享我在ZBrush中制作奧利舒特耶（Ollie Shuteye）和幽靈（Spooky）的經(jīng)驗(yàn)。 我希望你會(huì)學(xué)到一些有趣的東西！

I am going to share my experience regarding the making of Ollie Shuteye and the Spooky in ZBrush. I hope that you will learn something interesting!

草圖

一開始一切都以一個(gè)球體開始，所以我也是從這個(gè)開始的。 在我最初的建模中最方便的部分原來是ZBrush中的DynaMesh。

建模時(shí)我有兩個(gè)階段的工作。 第一個(gè)是素描。 在這個(gè)階段，我把輪廓作為一個(gè)整體進(jìn)行建模，并把角色或作品的基本形式塑造出來。 一旦我完成了素描，我決定改變他們的姿勢(shì)，而他們?nèi)匀辉贒ynaMesh，所以他們不會(huì)被任何其他動(dòng)畫程序操縱。 在他們的作品整體準(zhǔn)備好后，我進(jìn)入第二階段。

The sketch

In the beginning everything starts with a sphere, so that's what I started from as well. The most convenient part in the initial modeling for me turned out to be DynaMesh in ZBrush.

I have two stages of work while modeling. The first one is the sketch. During this stage I model the silhouette as a whole and the basic form of the character or the composition. Once I've done the sketch, I decide to change their poses while they are still in DynaMesh so they won't be rigged in any other animation program. After their composition is ready as a whole, I move to the second stage.

DynaMesh/ ZRemesh

把零件放在不同的圖層上，我復(fù)制它們中的每一個(gè)（例如頭部），之后第二個(gè)網(wǎng)格被重新劃分到盡可能低的細(xì)分級(jí)別。 把它至少細(xì)分到5級(jí)，我只留下兩個(gè)物體？ 原來的DynaMeshed和新的Retopology。

在從1到5的每個(gè)級(jí)別上，我使用NoiseMaker和FiberMesh將DynaMesh對(duì)象用新的逆向工程投影到對(duì)象上。

DynaMesh/ZRemesh

Holding the parts on separate layers, I duplicate each one of them (for example the head only), after which the second mesh is ZRemeshed to the lowest possible level of subdivisions. Subdividing it at least to level 5, I leave only two objects ? the original DynaMeshed one and the new one with the new retopology.

On each one of the levels from 1 to 5, I project the DynaMesh object onto the object with the new retopology using NoiseMaker and FiberMesh.

NoiseMaker

通過在ZBrush中使用NoiseMaker和Alphas，可以快速建模并獲得驚人的效果。 你可以在zbrushcentral上找到很多選擇的Alphas？ 只是嘗試幻燈片。 使用特定的噪音類型，然后在頂部添加不同的尺寸并混合。 你會(huì)看到，實(shí)驗(yàn)可以導(dǎo)致各種有趣的事情。 如果你不喜歡其中的任何一個(gè)，只要?jiǎng)h除它并添加新的東西。

不要忘記，在任何試驗(yàn)之前？ 在ZBrush的UV Master中制作一個(gè)UV。 因此，NoiseMaker中包含的UV按鈕添加的噪聲將沿著網(wǎng)格均勻分布。

NoiseMaker

By using NoiseMaker and Alphas in ZBrush, one can model quickly and achieve amazing effects. You can find a great selection of Alphas on zbrushcentral ? just experiment with the slides. Use a particular Noise type and then add a different size on top and mix them. You will see that experimenting can result in various interesting things. If you don't like any of them, just remove it and add something new.

Don't forget though, before any experimenting ? make a UV in the UV master in ZBrush. Thus Noises, which you add with the UV button included in NoiseMaker, will spread out evenly along the mesh.

FiberMesh

現(xiàn)在我在我想要有纖維的地方放一個(gè)面具。 我個(gè)人總是從ZBrush的基本纖維開始，之后我使用這個(gè)圖像中的主要參數(shù)來試驗(yàn)滑塊按鈕。 當(dāng)我發(fā)現(xiàn)一些有趣的東西時(shí)，我把它保存起來，使下一根光纖分開。 這創(chuàng)造了更好的變化，使其更有趣。 在本質(zhì)上，沒有什么是相同的。

我用FiberMesh來制作螢火蟲，草和點(diǎn)。 雖然有一些更具體的設(shè)置。 不要忘記，使用ZRemesh可以快速創(chuàng)建流暢的表單。 您也可以使用變形選項(xiàng)卡執(zhí)行此操作：放松>拋光>平滑。

FiberMesh

Now I place a Mask on the spots where I want to have fibers. I personally always start with the basic Fibers from ZBrush, after which I experiment with the slider button, using the main parameters as seen in this image. When I find that something is interesting I save it and make the next fiber separate. This creates better variation and makes it more interesting. In nature, nothing is identical.

I use FiberMesh in the same way to make the fireflies, grass and dots. There are certain, more specific settings there though. Don't forget that with ZRemesh you can create smooth forms quickly. You can also do this with the deformation tab: Relax > Polish > Smooth.

凹凸/阿爾法

您可以使用照片引用來創(chuàng)建阿爾法和凹凸貼圖，以及已經(jīng)在ZBrush中創(chuàng)建的貼圖。

不要忘記通過改變手寫筆刷的按鈕來拖動(dòng)和移動(dòng)它們，將特定網(wǎng)格的不同部分分組。分組將使模型和紋理更容易。

Bump/Alpha

You can use photo references to create Alphas and bump maps, as well as those already made in ZBrush.

Don't forget to separate the different parts of a particular Mesh into groups by changing the button of the brush from freehand to drag and moving them around. Groups will make it easier to both model and texture.

Polypainting

創(chuàng)建紋理時(shí)，我很少使用照片。 我更喜歡幾乎所有的東西都是用手繪的。 如果我使用照片，我總是減少畫筆的不透明度，并添加一個(gè)阿爾法，所以只能看到一定的效果。

用涂料，我堅(jiān)持自然的基本原則？ 一切都有其主色。 應(yīng)用了顏色之后，我開始使用圖層，，我可以控制，減少Ollie Shuteye的臉上的雀斑或增加了它們。 我通常使用阿爾法作為一種打點(diǎn)，斑點(diǎn)或小靜脈，以創(chuàng)造一個(gè)逼真的皮膚效果。 最后，我用一種很輕的強(qiáng)度的普通顏色來略微總結(jié)一下。

Polypainting

I very rarely use a photo when creating the texture. I prefer that almost everything is Polypainted by hand. If I use photographs, then I always reduce the brush's opacity and add an Alpha, so that only certain effects can be seen.

With Polypainting, I stick to nature's basic principle ? that everything has its primary color. Having applied the color, I begin to work with layers, which I can control as I reduce the freckles on Ollie Shuteye's face or increase them. I usually use Alphas as a type of dotting, spots or small veins in order to create a realistic skin effect. Finally I slightly sum things up by using a common color with very light intensity.

遮罩

Polypainting時(shí)，我主要使用Cavity遮罩或PeaksandValleys遮罩。 在自然界中，凹陷總是顏色較深或有污垢效果，所以我使用較深的色調(diào)。 我打開遮罩，并在最高的部分應(yīng)用最輕的陰影。 我經(jīng)常使用手繪畫筆進(jìn)行繪畫，并在單獨(dú)的圖層中使用Alpha，以更好地控制皮膚細(xì)節(jié)。

最主要的是收集足夠的參考資料，以幫助指導(dǎo)您的涂料。 你需要研究什么是最典型的，看起來是什么樣的，以及如何著色，這樣人眼會(huì)相信這不僅僅是照片的集合，而是幾乎是真實(shí)的。

Mask

I mainly use a Cavity mask or a PeaksandValleys mask when Polypainting. In nature, concave dips are always darker in color or have a dirt effect, so I use darker shades. I turn the mask on, and apply the lightest shade on the highest part. I often use a freehand brush for painting, plus use Alphas in separate layers to have more control over the skin detail.

The main thing is to collect enough references to help guide your Polypainting. You need to research what is most typical for it, what it looks like and how to color it, so that the human eye will believe this is not a mere collection of photographs, but something almost real.

LightCap

我使用兩種照明：主照明和LightCap。 當(dāng)我在LightCap中創(chuàng)建新光源時(shí)，例如，如果要使透明眼睛表面反應(yīng)，則在燈的漫反射屬性上將“陰影”和“不透明度”設(shè)置為0，這樣就不會(huì)影響網(wǎng)格。 當(dāng)我加載Alpha和紋理時(shí)，我還改變了Specular設(shè)置中的不同燈的光圈，衰減和強(qiáng)度。

在LightCap面板的背景下，我加載了預(yù)先繪制的圖像。 你應(yīng)該在這里嘗試創(chuàng)造有趣的效果！

LightCap

I use both kinds of lighting: Main lighting and LightCap. When I create new light in the LightCap, if for example I want to make the transparent eye surface react, I set Shadows and Opacity to 0 on the Diffuse properties of the lamp, so that there won't be influence over the Mesh. I also change the different lamps' Aperture, Falloff and Strength in the Specular settings, as I load Alpha and Textures.

In the background of the LightCap panel, I load a pre-painted image. You should experiment here to create interesting effects!

材料

我通常會(huì)給皮膚涂上4層，以及標(biāo)準(zhǔn)材質(zhì)?ZBrush有足夠的品種。使用渲染，我使用BPR過濾器。有很好的可能性，Photoshop的修正幾乎沒有必要。我在眼睛和嘴唇上添加了一個(gè)黑色塑料玩具效果，然后配置一些設(shè)置，這樣渲染會(huì)使它們變得透明。

Materials

I usually load Skin Shade 4, as well as the standard materials ? there is enough variety in ZBrush. With the render I use BPR Filters. There are terrific possibilities and the correction in Photoshop is almost unnecessary. I add a black plastic toy effect on the eyes and the lips, and then configure some settings so the rendering will make them transparent.

最終的想法

本教程的主要主題是學(xué)習(xí)技術(shù)是很重要的。但最重要的是把你的心投入其中，將你的靈魂注入你所創(chuàng)造的生物中。畢竟他們是你幻想中的孩子!

Final thoughts

The main theme throughout this tutorial is that it's important to learn the techniques. But the most important thing is to put your heart in it, and breathe your spirit into the creatures that you create. After all they are the children of your fantasy!