ZBrush快速雕刻技術(shù)

介紹

做快速造型時，重要的是要處理大的形狀，松散的和實驗性的。 這使得您可以在短時間內(nèi)為客戶（或您自己）制作一大堆角色或生物概念，而不會陷入細節(jié)之中。

對于這張圖片，雖然不重要的是添加細節(jié)，比如細小的皺紋和毛孔，但我發(fā)現(xiàn)我有足夠的時間在我的3個小時的限制內(nèi)完成。大部分時間(2小時45分鐘)用于建模;其余的(1小時10分鐘)都花在渲染上了。

Introduction

When doing a speed sculpt it's important to work on the big shapes and be loose and experimental. This allows you to make a whole bunch of character or creature concepts for a client (or yourself) in a short period of time, without getting stuck on details.

For this image, even though it wasn't important to add details like small wrinkles and pores, I found that I had the time to do so later on in my 3 hour limit. The majority of time (2hrs 45mins) was spent on modeling; the rest, and more, (1hr 10mins) was spent on the render.

粗糙建模

我通過從LightBox加載DefaultSphere（熱鍵“，”）來啟動模型。 然后用Move畫筆將這個球體稍微拉一點，以獲得基本的形狀（圖01）。 為了避免拉伸，我把圖像轉(zhuǎn)換成dynamesh，分辨率相當?shù)停?0），因為我只想在開始的時候在大的表單上工作。

Rough Modeling

I start the model by loading the DefaultSphere from LightBox (hotkey ","). I then pull this sphere a little with the Move brush, just to get basic shape to start off with (Fig.01). To avoid stretching, I convert the image to a dynamesh at a fairly low resolution (40), since I only want to work on the big forms at the beginning.

圖01

我開始堵塞類似人形顱骨和胸部的東西。 我發(fā)現(xiàn)在這個早期階段使用Trim Dynamic和Clip畫筆可以在模型中獲得一些粗糙的特征。

我現(xiàn)在開始用Dam標準畫筆在臉上涂抹一些特征（圖02）。

I start blocking out something that resembles a humanoid skull and chest. I find it useful to use the Trim Dynamic and Clip brushes at this early stage to get some coarse features in the model.

I now start scribbling out some features on the face with the Dam Standard brush (Fig.02).

圖02

這些都被用作素描，只是為了讓我的思想流動。 我不打算讓這些素描雕刻永遠留在那里，所以我以后可以用Smooth刷子將它們磨平。

我也覺得早期建議眼眶和顴骨是有幫助的。 當我開始的時候，我真的不知道我想要什么樣的角色，但現(xiàn)在我腦海中有一個想法，他應(yīng)該是一個食人魔般的野蠻人。

我繼續(xù)使用“移動”畫筆處理角色的個人資料。 為了讓下巴突出，我用面具套索畫筆從側(cè)面看模型。 然后我用移動刷子拔出下巴。

不要忘記，在移動時按住Alt鍵，可以沿著畫筆的方向移動面部。 我經(jīng)常這樣做，因為在使用此功能時不必旋轉(zhuǎn)模型。 用低Z強度的標準刷（圖03）也很好。

These are used as a kind of sketch just to get my ideas flowing. I don't intend for these sketch carvings to stay there forever, so I can smooth them out later with the Smooth brush.

I also find it helpful to suggest the eye sockets and the cheekbones early on. When I started I didn't really have any idea of what kind of character I wanted, but now there is an idea in my head that he should be an ogre-like brute.

I continue working on the profile of the character with the Move brush. In order to make his lower jaw stand out, I mask it off with the Mask Lasso brush while looking at the model from the side. I then pull out the jaw with the Move brush.

Don't forget that you can move the faces in the brush's direction by pressing the Alt button while moving. I do this quite often as you don't have to rotate the model around when using this feature. It's also good to work with the Standard brush at a low Z intensity (Fig.03).

圖03

精煉特性

在這個時候，我覺得我的角色的一般形式已經(jīng)基本完成了，所以我想在細分中進一步。

首先，我重新命名模型（Ctrl +拖動文檔）并將其細分為三部分。 在使用DynaMesh時，我通常將Blur設(shè)置為0，以保持模型的紋理相當粗糙。

在圖04中，我用紅色標記了眼窩上部的T重疊。 這個東西容易被忽視，因為這個區(qū)域的脂肪和組織隱藏了骨骼結(jié)構(gòu); 但是我覺得在模型開始的時候夸大這一點是很有用的，以獲得正確的比例。 我還添加了一個小耳朵，更多的脂肪掛在下巴上。

Refining the Features

At this time, I feel that I have the general form of the character pretty much complete, so I want to progress a bit in the subdivisions.

First, I re-dynamesh the model (Ctrl + drag on the document) and subdivide it into three sections. When working with DynaMesh, I usually set Blur to 0 in order to keep the texture of the model fairly rough.

In Fig.04 I have marked in red the T overlap in the upper part of the eye socket. This is something easily over-looked as the fat and tissue in this area hides the bone structure; but I find it useful to exaggerate this at the start of a model to get the correct proportions. I also add a small ear and more fat hanging from the jaw.

圖04

為了雕刻眼睛周圍的區(qū)域，我總是帶一個球形來幫助我獲得正確的形狀。 將Sphere 3D（工具>子工具>追加）添加到模型中，將其縮小并正確放置在圖形上（圖05）。 這樣做有助于激活透明度。 透明度按鈕可以在文檔的右下方找到。

In order to sculpt the area around the eye, I always bring in a sphere to help me get the correct shape. I add the Sphere 3D (Tool > Subtool > Append) into the model, scale it down and place it on the figure correctly (Fig.05). It's helpful to activate Transparency when doing this. The Transparency button can be found in the lower right side of the document.

圖05

當眼球到位時，更容易雕刻眼皮。 圖06顯示了上下眼瞼的最高點和最低點（用箭頭標出）。 然后，我使用SubTool Master（ZPlugin> SubTool Master> Mirror）將眼睛鏡像到臉部的另一側(cè)。

When the eyeball is in place, it is easier to sculpt the eyelids. Fig.06 shows the highest and lowest point of the upper and lower eyelids (marked with arrows). I then use the SubTool Master (ZPlugin > SubTool Master > Mirror) to mirror the eye to the other side of the face.

圖06

我繼續(xù)細化一些細節(jié)。 圖7顯示了一些骨骼結(jié)構(gòu)調(diào)整：

1.額骨的平坦部分

2.鼻子的簡化圖。

3.我用粘土積累刷子雕刻的上眼瞼上方的脂肪口袋。

4.從嘴里發(fā)出的皺紋可以在老人的嘴上或嘴下發(fā)現(xiàn)，但是在這里我只是把它們雕刻在嘴上。

5. 口腔周圍的皺紋大多出現(xiàn)在下顎，但也可以發(fā)現(xiàn)在嘴上方不太明顯。

6.在脖子上堆積的脂肪傾向于產(chǎn)生包圍脖子的褶皺。 這些是在人們傾斜頭部時創(chuàng)建的。

I continue to refine some of the details. Fig.07 shows a few of the bone structure adjustments:

1. The flat part of the frontal bone.

2. A simplified diagram of the nose.

3. Fat pockets above the upper eyelid that I sculpt with the Clay Buildup brush.

4. Wrinkles radiating from the mouth can be found above and below the mouth on an old human being, but here I've only sculpted them above the mouth.

5. Wrinkles going around the mouth are mostly seen on the lower jaw but can also be found less pronounced above the mouth.

6. Fat that builds up on the neck tends to create folds that encircle the neck. These are created when a person tilts their head.

圖7

這個角色的臉上有點空，所以我決定用曲線管刷子來增加一些牙齒。 由于您只能使用一個子工具上的插入畫筆進行單個細分，所以添加牙齒時，我切換到眼睛子工具。

在基本的幾何形狀到位后，我開始用移動刷子推動牙齒以獲得更好的形狀。 您也可以一次遮住一顆牙齒，并使用縮放移調(diào)線（熱鍵“S”）將它們弄平。 為了得到更清晰的外觀，我添加了修剪動態(tài)畫筆（圖08）。

The character's face feels a little bit empty at this point, so I decide to give him a bit more character by adding some teeth with the Curve Tube brush. As you only can work with the insert brushes on a subtool with a single subdivision, I switch to the eye subtool when I add the teeth.

After the base geometry is in place I start pushing the teeth around with the Move brush to get a better shape. You can also mask off one tooth at a time and use the Scale Transpose line (hotkey "S") to flatten them. To get a sharper look I add some finish with the Trim Dynamic brush (Fig.08).

圖08

由于我對如何解決臉上的大問題感到猶豫不決，因此我決定在Dam Standard刷子上添加更多的皺紋（圖9）。

As I'm feeling indecisive about how I should tackle the big features in the face, I decide to add some more wrinkles with the Dam Standard brush (Fig.09).

圖9

我總是在一個單獨的層上做這個，所以當我想要處理基本形狀的時候，我可以關(guān)閉這個層并保護皺紋。 如果雕刻效果很好，最好添加一個新圖層，雕刻并合并舊圖層。 這是給自己更多的空間去實驗和糾正你的工作的好方法。

加完所有的皺紋之后，我開始在皺紋之間的區(qū)域增加體積，使它們有更豐滿的感覺。 用低Z強度的標準刷可輕松完成（圖10）。

I always do this on a separate layer so I can turn the layer off and protect the wrinkles when I want to work on the basic shape. It's also good practice to add a new layer, sculpt and then merge with your old layer if the sculpting turns out well. This is a good way to give yourself more scope to experiment and correct your work.

After adding all of the wrinkles, I start to add volume to the area between the wrinkles to give them a much fleshier feel. This is easily done with the Standard brush on a low Z intensity (Fig.10).

圖10

我想為我的角色創(chuàng)建一個快速的姿勢，以打破對稱。 為此，我使用Transpose Master并激活圖層，以便將新姿勢放置在每個子工具的單獨圖層上。 我去ZPlugin> Transpose Master并按下TPoseMesh來創(chuàng)建一個新的造型工具。

當擺出任何類型的頭部時，我通常只使用“面具套索”工具來掩蓋頭部，并使用旋轉(zhuǎn)移調(diào)線（熱鍵R）進行旋轉(zhuǎn)。 從頭部中間拖出一個轉(zhuǎn)置線，然后通過拖動線（不是白色或紅色的環(huán)）到頭部接近頸部的位置來移動轉(zhuǎn)置線。 現(xiàn)在我可以通過拖動頭部前面轉(zhuǎn)置線上的白色環(huán)來轉(zhuǎn)動頭部。

當我完成構(gòu)圖時，我選擇TPose> SubTool（ZPlugin> Transpose Master）將姿勢轉(zhuǎn)移到模型。 姿勢完成后，用“移動”畫筆添加一些不對稱（圖11）。

I want to create a quick pose for my character in order to break up the symmetry. To do this, I use the Transpose Master and activate Layer so that the new pose will be put on a separate layer for each subtool. I go to ZPlugin > Transpose Master and press TPoseMesh to create a new tool for posing.

When posing any kind of head I usually just use the Mask Lasso tool to mask off the head and rotate it with the Rotate Transpose line (hotkey R). I drag out a transpose line from the middle of the head and then move the transpose line by dragging the line (not the white or red rings) to the position where the head meets the neck. Now I can rotate the head by dragging the white ring on the transpose line that is in front of the head.

When I am done with posing, I select TPose > SubTool (ZPlugin > Transpose Master) to transfer the pose to the model. After the pose is done I add some asymmetry in the face with the Move brush (Fig.11).

圖11

添加細節(jié)

由于我有3個小時的時間，所以我決定做一些皮膚細節(jié)。 我在兩個不同的圖層上創(chuàng)建了兩個單獨的通道，我將在后面進行合并

圖12中的左圖顯示了角色上的皮膚皺紋。 我做了一個新版本的標準畫筆（刷>克�。�，并使用阿爾法58阿爾法槽。 然后我將筆劃設(shè)置為“筆劃”>“流量”中較低的值，然后將“筆刷”>“定位”>“旋轉(zhuǎn)速率”設(shè)置為10.我使用此筆刷來雕刻小型皮膚皺紋。 這是添加皮膚結(jié)構(gòu)的一種非�？焖俚姆绞�，但要確保均勻地應(yīng)用此效果。

圖12中的右圖顯示了一些皮膚腫塊。 為了做到這一點，我創(chuàng)建了一個新版本的標準畫筆（畫筆>克�。┰诎�爾法槽中的阿爾法47。 我將筆劃設(shè)置為“筆劃”>“流量”的低值，“筆劃”>“放置”的值最高。

Adding the Detail

Since I have some time left on my 3 hour limit, I decide to do some skin detail. I create two separate passes on two different layers that I will later combine.

The left-hand figure in Fig.12 shows the skin wrinkles on the character. I do a new version of the Standard brush (Brush > Clone) and use alpha 58 for the alpha slot. I then set the stroke to Spray with a low value on Stroke > Flow and set the Brush > Orientation > Spin Rate to 10. I use this brush to sculpt the small skin wrinkles. It's a pretty fast way of adding skin structure, but make sure you apply this effect evenly.

The right-hand figure in Fig.12 shows some skin bumps. To make these, I created a new version of the Standard brush (Brush > Clone) with alpha 47 in the alpha slot. I set the stroke to Spray with a low value on Stroke > Flow and a high or top value for the Stroke > Placement.

圖12

添加顏色

現(xiàn)在雕刻完成了，我想對角色做一個快速的涂色。 我改變我的畫筆標準，關(guān)閉Zadd并打開RGB。 這些按鈕可以在UI的中上部找到。 我創(chuàng)建一個新的圖層，并用灰色來繪制它。 之后，我切換到黑色，開始為臉部的不同部分添加一些值（圖13）。

Adding Color

Now that the sculpting is done, I want to do a quick polypainting on the character. I change my brush to Standard, turn off Zadd and turn on RGB. These buttons can be found in the middle upper part of the UI. I create a new layer and paint it with a gray color. After that I switch to black and start to add some value to different parts of the face (Fig.13).

圖13

為了在皮膚中添加一些污垢，我導(dǎo)入一個具體的紋理（“紋理”>“導(dǎo)入”）并將其帶入聚光燈（紋理>添加到聚光燈）。 在我開始繪畫之前，我增加了聚光燈半徑，以便在繪畫時更容易看到我的模型。 之后，通過拖動聚光燈輪上的對比度圖標來增加圖像的對比度（圖14）。

To add some grime in the skin I import a concrete texture (Texture > Import) and bring it into a spotlight (Texture > Add to Spotlight). Before I start painting, I increase the spotlight radius to make it easier to see my model when painting. After that, I increase the contrast in the image by dragging the Contrast icon on the spotlight wheel (Fig.14).

圖14

在聚光燈下進入油漆模式，我按下鍵盤上的熱鍵Z，將混凝土涂在一個新圖層上(圖15)。

To go into Paint mode in spotlight, I press the hotkey Z on the keyboard and paint the concrete on a new layer (Fig.15).

圖15

在做了具體的繪畫之后，我關(guān)掉了聚光燈(Shift + Z)并返回到我的基本層。

現(xiàn)在我將畫筆>和紋理> Polypaint模式改為2(彩色)，并將底漆層涂上顏色(圖16)。

After doing the concrete painting, I turn off spotlight (Shift + Z) and return to my base layer.

Now I change Brush > Alpha and Texture > Polypaint mode to 2 (Colorize) and paint the base paint layer with color (Fig.16).

圖16

由于ZBrush只在多色層上有正常的混合模式，所以我需要在我的混凝土層上創(chuàng)建一個面具，并在一個新圖層上涂上較深的顏色。為了做到這一點，我打開了混凝土圖層上的眼睛圖標，通過點擊工具>來屏蔽>掩碼，并創(chuàng)建一個新的圖層(圖17)。掩蔽將在新層上。

As ZBrush only has Normal blending mode on Polypaint layers, I need to create a mask based on my concrete layer and paint the darker color on a new layer. To do this, I turn on the eye icon on the concrete layer, click Tool > Masking > Mask by Intensity and create a new layer (Fig.17). The masking will be on the new layer.

圖17

在這之后，我關(guān)閉了混凝土層，用強度掩模在新圖層上激活Rec，并將其涂成深顏色。我調(diào)整圖層不透明度，直到找到我喜歡的級別(圖18)。

After this is done I turn off the concrete layer, activate Rec on the new layer with the intensity mask and paint it in a dark color. I fine-tune this tone by dialing down the layer opacity until I find a level I like (Fig.18).

圖18