在ZBrush制作卡通人物

這個(gè)項(xiàng)目是在與Danilo Athayde的研討會(huì)上創(chuàng)建的，目標(biāo)是使一些具有立場(chǎng)角色的藝術(shù)。

This project was created in a workshop with Danilo Athayde, and the goal was make something artistic with a standing character scene.

Concept and references

For this project, I was looking for a very simple and artistic concept. A simple drawing made by Mike Azevedo fitted very well with what I was looking for - I just loved her expression.

One of the most amazing things about this project was able to have personally known Mike Azevedo and have picked up some interesting tips.

Then I began to think about each step and how I could do it without having any surprises during the process. I believe that the best way to learn and improve is to use references for every single detail even if you've already done it thousands of times.

概念和參考

對(duì)于這個(gè)項(xiàng)目，我正在尋找一個(gè)非常簡(jiǎn)單和藝術(shù)的概念。 Mike Azevedo制作的簡(jiǎn)單繪畫(huà)非常適合我所尋找的內(nèi)容 - 我只是喜歡她的表情。

這個(gè)項(xiàng)目最令人驚奇的事情之一就是能夠親自認(rèn)識(shí)邁克艾澤維多，并提出了一些有趣的提示。

然后，我開(kāi)始思考每一步，如何做到這一點(diǎn)，而不會(huì)有任何驚喜。 我相信，學(xué)習(xí)和改進(jìn)的最好方法是使用每個(gè)細(xì)節(jié)的參考，即使你已經(jīng)做了數(shù)千次。

Modeling

I started modeling in ZBrush with a base mesh, first trying to adjust the proportions and silhouettes.

The hardest part was the face shape and eyes; I wanted to make it as similar as possible to the concept, however a little more realistic. One thing that really helped to view the face was modeling the hair shape.

After I finished the whole body and did the retopology in TopoGun, I went back to ZBrush and using Extract, I modeled her blouse and skirt. For the skin details, I used some brushes that Danilo showed me.

造型

我在ZBrush開(kāi)始使用基礎(chǔ)網(wǎng)格進(jìn)行建模，首先嘗試調(diào)整比例和輪廓。

最難的部分是臉型和眼睛; 我想讓它盡可能類(lèi)似于這個(gè)概念，不過(guò)還有一點(diǎn)更現(xiàn)實(shí)。 真正幫助觀看臉部的一件事是塑造頭發(fā)的形狀。

在完成了整個(gè)身體，并在TopoGun進(jìn)行了重新學(xué)習(xí)之后，我回到了ZBrush并使用Extract，我模仿了她的上衣和裙子。 對(duì)于皮膚細(xì)節(jié)，我使用了Danilo向我展示的一些畫(huà)筆。

UV

I exported all the pieces, open the UV in UVLayout, went back to ZBrush to make textures and position the model. And finally extracts all the maps to start working on 3ds Max.

UV

我導(dǎo)出所有的碎片，打開(kāi)紫外線UVLayout，回到ZBrush來(lái)制作紋理和定位模型。 最后提取所有的地圖開(kāi)始工作在3ds Max。

3ds Max

With all the parts imported in 3ds Max, I began the hardest part of the model - the hair. I decided to make several plans, and using a basis modeled in ZBrush, I distributed the many plans and tried to get close to the concept. I then imported all the maps in the model to start rendering.

3ds Max

隨著所有的零件都在3ds Max導(dǎo)入，我開(kāi)始了模型中最難的部分 - 頭發(fā)。 我決定制定幾個(gè)計(jì)劃，并使用ZBrush建模的基礎(chǔ)，我分發(fā)了許多計(jì)劃，并試圖接近這個(gè)概念。 然后我導(dǎo)入模型中的所有地圖開(kāi)始渲染。

VRay

From the start, my focus was on the eyes and the hair because I believe these are the most remarkable things in a woman, so that was where I decided to dedicate myself more.

I positioned two lights on the left, where one of them was stronger and yellow, then one to the far right and a rim light.

VRay

從一開(kāi)始，我的焦點(diǎn)就在眼睛和頭發(fā)上，因?yàn)槲蚁嘈胚@些是女人中最顯著的東西，所以我決定更多地致力于自己。

我在左邊放置了兩個(gè)燈，其中一個(gè)是較強(qiáng)和黃色，然后一個(gè)在最右邊，一個(gè)邊緣燈。

For all parts used the VRayMtl and the skin VrayFastSSS2. I also almost got everything in the Default preset Skin (pink) mode, which worked as I wanted.

對(duì)于所有零件使用VRayMtl和皮膚VrayFastSSS2。 我也幾乎擁有默認(rèn)預(yù)設(shè)的皮膚（粉紅色）模式的所有功能，這是我想要的。

Photoshop

For the passes, I set Reflection, Specular, SSS, Occlusion and Wirecolor order to select separate parts if needed.

Photoshop

對(duì)于通行證，如果需要，我設(shè)置反射，鏡面，SSS，遮擋和Wirecolor順序以選擇單獨(dú)的部分。

And for the background, thanks to some tips from Mike Azevedo, I played with the Natural Brushes in Photoshop. Finally, the image was ready.

為了背景，感謝Mike Azevedo的一些技巧，我在Photoshop中使用了自然畫(huà)筆。 最后，圖像準(zhǔn)備好了。