“兔子”的制作

介紹

Introduction

在創(chuàng)作這個角色的過程中，沒有任何草圖，我只是想創(chuàng)造一個可愛的卡通兔子角色。我當(dāng)時想到的唯一的參考就是電影《太空果醬》中兔八哥的女朋友，但我沒有使用任何實際的視覺參考，以避免復(fù)制那個角色。

There weren't any sketches or concepts done in the process of creating this character, I simply wanted to create a cute, cartoonish bunny character. The only reference I had in mind at the time was of Bugs Bunny's girlfriend from the movie, Space Jam, but I didn't use any actual visual references in order to avoid copying that character.

我的第一次嘗試有點奇怪。我不容易讓兔子看起來性感、有趣、迷人，而我卻得到了一個令人感覺不安的“東西”。所以，我以夸張的比例創(chuàng)建，更多地集中在人物的臉上，試圖達到一種吸引人的目的。

My first attempts were kind of strange. It wasn't easy for me to make a bunny look sexy, funny and charming all at the same time, and instead I was getting a rather disturbing "thing". So I played around with exaggerated proportions and focused more on the character's face to try and achieve an appealing look.

造型

Modelling

第一步是創(chuàng)建整個身體的主要比例。從一個2x2x2的立方體開始，我做了一系列的面擠壓，調(diào)整頂點來定義主要的正面輪廓和整體輪廓(圖01)。

The first step was to block the main proportions of the full body. Starting with a 2x2x2 cube, I performed a series of face extrusions, tweaking vertices to define the main front silhouette and profile (Fig.01).

圖01

一旦我對它感到滿意，我就開始添加邊緣循環(huán)，隨機切割面，并在需要的地方添加細節(jié)。在這一點上，它看起來有點恐怖，而且有很多3- 5面的臉(圖02)。

Once I was happy with it, I started adding edge loops, cutting faces randomly and adding detail where needed. At this point it looked sort of creepy and there were a lot of 3- and 5-sided faces (Fig.02).

圖 02

由于當(dāng)時我的注意力不集中，而且由于它的主要目的是為了做一個靜止的圖像，當(dāng)我把所有的問題都解決了的時候，進行保存(圖03)。

Due to my lack of care back then, and since its main purpose was for a still image, I left all the faces that way, but when I smoothed all the problems showed themselves (Fig.03).

圖 03

大約過了兩年，我打開了我的舊文件，一次又一次地完成它們(大多數(shù)3D藝術(shù)家都知道我在說什么)。然后我開始清理大部分的多邊形流，刪除面，添加新的，并優(yōu)化拓撲，通過選擇匹配的面并從模型中復(fù)制它們，從而在這個網(wǎng)格中創(chuàng)建衣服。這是一種眾所周知的方法，我用它來裝飾我創(chuàng)作的大部分卡通人物(圖04 &圖05)。

About two long years later, I opened my old files to finish them once and for all (most 3D artists will know what I'm talking about). Then I started to clean most of the polygon flow, deleting faces, adding new ones, and optimizing the topology to create the clothes from this mesh by selecting the matching faces and duplicating them from the model. This is a well known method I use to dress most of the cartoon characters I create (Fig.04 & Fig.05).

圖04

圖05

頭發(fā)是由拉出的NURBS曲線和擠壓的平面構(gòu)成的;眼睛是被轉(zhuǎn)化成波的球體(圖06)。

The hair was made by drawing NURBS curves and extruding planes along them; the eyes are NURBS spheres converted to polys (Fig.06).

圖06

uv和紋理

UVs和Texturing

我打開模型，試圖讓接縫遠離視圖。我把腿、胳膊、手、腳、頭、軀干和耳朵分開，然后把所有的部分都縫合起來，除了耳朵。結(jié)果是一個很好的展開的網(wǎng)格和一個單一的UV外殼(圖07)。

I unwrapped the model, trying to keep the seams away from the view. I unwrapped the legs, arms, hands, feet, head, torso and ears separately, and once all of them were unfolded I sewed all the parts together, except for the ears. The result was a nicely unfolded mesh in one single UV shell (Fig.07).聽

圖07

衣服和其他身體部位，如眼睛、牙齒和舌頭，也以同樣的方式展開(圖08)。

The clothes and other body parts, such as eyes, teeth and tongue, were also unfolded in the same way (Fig.08).

圖08

我選擇了一個藍紫色的顏色方案來做最后的渲染，所以這些是我在貼圖上使用的顏色。身體的肌理是手繪的——沒什么特別的;這些衣服紋理是從整體紋理開始的:第一卷和細節(jié)是用一些自定義筆刷繪制的。我為所有的紋理制作了一個遮擋通道，并使用它們對最終的貼圖進行著色，同時添加陰影區(qū)域(圖09和圖10)。頭發(fā)是用Photoshop繪制的。

I chose a blue-purple-pink colour scheme for the final render, so those were the colours I used for the maps. The body texture was hand painted - nothing fancy; the clothes were textured using textures from Total Textures: Volume 1 and details were painted using some custom brushes. I baked an occlusion pass for all of the textures and used them to colorize the final maps, and to add darker areas at the same time (Fig.09 & Fig.10). The hair was hand painted in Photoshop.

圖 09

圖10

這些材料非常簡單(帶有一個非常凌亂的材質(zhì)網(wǎng)絡(luò)):衣服使用了一種帶有非常低的鏡面值和沒有反射的blinn材料，而機身使用了MISSS_fast_simple(圖11)。這些散射層是用身體紋理作為參考，并將其著色為一種紅、粉紅的顏色。

The materials were very simple (with a very messy shader network): the clothes used a blinn material with a very low specular value and no reflection, and the body used a MISSS_fast_simple (Fig.11). The scatter layers were painted using the body texture as a reference and colorized to a reddish-pink colour.

圖11

裝備和造型

Rigging 和 Posing

在一年多以前，我用這個角色和我的另一個角色，學(xué)習(xí)了瑪雅操縱角色的基本知識。這是一個很長的過程，涉及到幾個教程和從互聯(lián)網(wǎng)獲得幫助。我把兩個不同的角色——一個瘦的可愛的兔子和一個又胖又丑的紅魔鬼——用同一個系統(tǒng)做了手腳，而且都很好用(圖12)。由于表面拓撲的局限性，這張臉只有幾個混合形狀，但其結(jié)果對我的目的來說已經(jīng)足夠好了(圖13)。

I used this character, along with another one I had, to learn the basics of character rigging in Maya more than a year ago. It was a long process involving several tutorials and getting help from the Internet. I rigged the two very different characters - a thin, cute bunny and a fat, ugly red devil - with the same system, and both worked very well (Fig.12). The face had just a few blend shapes due the limitation of the face topology, but the result was good enough for my purposes (Fig.13).

圖12

圖13

照明和渲染

Lighting 和 Rendering

燈光設(shè)置由一個區(qū)域的光作為主要的光源，兩個聚光燈-一個作為一個邊緣光和一個為背景和眼睛的反光。這個場景只是一個曲面。最后的集合在3000x4000像素的情況下，仍然呈現(xiàn)在精神光線中�；�了大約四五個小時才完成。我做了幾個姿勢，但其余的都是由于時間限制(圖14和圖15)，在900x1200像素下完成。

The lighting setup consisted of one area light for the main character, two spotlights - one as a rim light and one for the background - and glowing planes for the reflections in the eyes. The scenario was just a curved plane. The still was rendered in Mental Ray with Final Gather turned on at 3000x4000 pixels. It took about four or five hours to finish. I made several poses, but the rest were rendered at 900x1200 due to time limitations (Fig.14 & Fig.15).

圖14

圖15

后期制作

Post Production

我用Photoshop在最后的圖像上添加了一個更溫暖的色調(diào)。首先，我調(diào)整了曲線調(diào)整圖層和照片濾鏡，然后稍微調(diào)整了整體水平，使圖像更加明亮。我添加了一個輕微的透鏡模糊使用從Maya的深度傳遞，這對最終渲染沒有真正的區(qū)別，但這是一個高分辨率的圖像。最后的調(diào)整是一個灰度級的股票圖像，在兩種不同的混合模式下的完整組合，以及低的不透明度值，以提供不那么干凈的背景(圖16)。同樣的方法也適用于我做的其他5個渲染(圖17和圖18)。

I used Photoshop to add a warmer mood to the final image. First I adjusted the tone with a Curves Adjustment Layer and a Photo Filter and I then adjusted the overall levels slightly, to make the image brighter. I added a slight lens-blur using a depth pass from Maya, which made no real difference to the final render, but a big one to the high-res image. The final touch was one greyscale stock image over the full composition in two different blending modes, and a low opacity value to give a less clean look to the background (Fig.16). The same method was applied to the other five renders I made (Fig.17 & Fig.18).

圖16

圖17

圖 18

結(jié)論

Conclusion

這是我最喜歡的作品之一;我從這張圖片中學(xué)到了很多東西，當(dāng)然還有很多東西要學(xué)。在這個圖像上做的工作涉及到很多我日常工作中仍在使用的東西，整個過程也很有趣(當(dāng)然，在等待渲染的時候除外)。

This is one of many of my dearest works; there are many things I learned from this single image, and of course a lot more things to come from it, I'm sure. The work done on this image involved lots of things I still use in my daily works, and the entire process was a lot of fun too (except, of course, when waiting for the renders!).