騎摩托車的男人

分享在3ds Max，ZBrush和Photoshop里創(chuàng)建被放棄的加油站個(gè)性化的工作流程。

Idea

When I started this piece, I had no clear concept; I just knew I wanted something with a cartoon style, totally different from what I usually do at work. At first, my idea was just to create a character to practice modeling, but when I finished I liked it so much I decided to contextualize it and develop a scene.

理念

當(dāng)我開始這件作品時(shí)，我沒有明確的概念; 我只是知道我想要一個(gè)卡通風(fēng)格的東西，完全不同于我通常在工作時(shí)做的。 起初，我的想法只是創(chuàng)建一個(gè)字符來練習(xí)建模，但是當(dāng)我完成后，我喜歡它，所以我決定將其背景化并開發(fā)一個(gè)場景。

Modeling

I modeled the character in 3ds Max in a neutral position. Even though the model was intended to be part of a static image, I decided not to take the risk of creating it in the final pose, just in case I wanted to change it later.

I always start my models from the head, because it's the most difficult part and the one I usually spend most time on. My modeling technique for this part is to start modeling with a plane, turn it into editable poly and extrude edges.

建模

我在3ds Max中的位置建模了人物。 即使該模型是靜態(tài)圖像的一部分，我決定不采取在最終姿勢創(chuàng)建它的風(fēng)險(xiǎn)，以防萬一我想以后更改它。

我總是從頭開始我的模型，因?yàn)樗�是最困難的部分，我通常花最多的時(shí)間。 我的這個(gè)部分的建模技術(shù)是開始用平面建模，把它變成可編輯的多邊形和拉伸邊。

For the body, I started with a cylinder primitive for the torso and the limbs. Then I adjusted the proportions and started to refine the mesh.

I then started modeling the index finger and, making small adjustments, I created all the other fingers. Next, I modeled the rest of the hand, emphasizing the topology.

然后我開始建模食指，進(jìn)行小調(diào)整，我創(chuàng)建了所有其他手指。 接下來，我模擬手的其余部分，強(qiáng)調(diào)拓?fù)洹?/p>

For this piece, I searched for sole reference images for the footwear. Once I found one that suited what I wanted, I started to model the pattern of the sole and built the rest of the mesh extruding edges from that geometry.

對于身體，我開始為軀干和四肢的圓柱原始。 然后我調(diào)整比例，并開始細(xì)化網(wǎng)格。

對于這件作品，我搜索鞋的唯一參考圖像。 一旦我找到一個(gè)適合我想要的，我開始模擬鞋底的模式，并從該幾何構(gòu)建網(wǎng)格擠壓邊緣的其余部分。

When I was happy with my model, it was time to unwrap. I started by making a basic unwrap in Roadkill UV, an excellent free program that helps you to unwrap your models quickly. Next, I exported the mesh back to 3ds Max to add the final touches and pack the UVs.

Most of the time, I maintained a uniform texel density, although sometimes it is necessary to increase the size of some of the UVs islands that need additional detail. If you plan to do a static image, this is quite a straightforward task. You can just increase the size of the UV's close to the camera and reduce the size of the ones further away from it.

當(dāng)我對我的模型很滿意時(shí)，是時(shí)候解開。 我開始做一個(gè)基本的解開在Roadkill UV，一個(gè)優(yōu)秀的免費(fèi)程序，可以幫助你快速解開你的模型。 接下來，我將網(wǎng)格輸出回3ds Max以添加最后的觸摸并打包UV。

大多數(shù)時(shí)候，我保持一個(gè)統(tǒng)一的紋理密度，雖然有時(shí)需要增加一些UVs島的大小需要額外的細(xì)節(jié)。 如果你打算做一個(gè)靜態(tài)圖像，這是一個(gè)相當(dāng)簡單的任務(wù)。 您可以增加靠近相機(jī)的UV的尺寸，并減小更遠(yuǎn)離相機(jī)的UV的尺寸。

Once the model is completed, I take it into ZBrush to add detail and bake maps that will help me later in the texturing phase.

一旦模型完成，我把它帶入ZBrush添加細(xì)節(jié)和烘焙地圖，這將幫助我以后在紋理化階段。

Motorbike

The bike is not based on any particular model, as I have no idea about motorbikes. I just gathered some photos of motorcycle parts, especially engines, modifying and adjusting the designs to fit into my motorbikes frame. Most of the pieces were modeled from primitives, nothing complicated.

摩托車

自行車不是基于任何特定的模型，因?yàn)槲也恢�道摩托車�?我只是收集了一些摩托車零件的照片，特別是發(fā)動(dòng)機(jī)，修改和調(diào)整設(shè)計(jì)，以適應(yīng)我的摩托車的框架。 大多數(shù)的片段是從原語建模的，沒有什么復(fù)雜。

Background

As I planned to detail all the background objects in the image, I needed to know what parts will be visible from the camera. I modeled proxy meshes for the main objects, and placed them in the scene. After that, I set the camera and started the background modeling phase.

背景

當(dāng)我計(jì)劃詳細(xì)說明圖像中的所有背景對象時(shí)，我需要知道從相機(jī)可以看到什么部分。 我為主要對象建模代理網(wǎng)格，并將它們放在場景中。 之后，我設(shè)置了相機(jī)并開始背景建模階段。

Rigging

I hate rigging and I didn't want to have a hard time with it, so I posed the biker using Biped. I only had to adjust it and weight all vertices.

The face was resolved using a few basic morphs. Since it was just for a static image I could keep it simple and there was no need for complex controls.

索具

我討厭索具，我不想有一個(gè)艱難的時(shí)間，所以我提出了騎自行車的人使用Biped。 我只需要調(diào)整它和所有頂點(diǎn)的權(quán)重。

臉被解決使用一些基本形態(tài)。 因?yàn)樗�只是一個(gè)靜態(tài)圖像，我可以保持簡單，沒有需要復(fù)雜的控制。

Hair

I used the Hair & Fur plug-in for the hair. The mesh used to generate the hair was obtained from the head. I unwrapped that mesh and made UVs to paint textures that would help me control hair parameters such as density. I then created splines to use as a guide for the modifier to create the hair style I was looking for. Finally, for the eyelashes, I used a texture with opacity.

頭發(fā)

我使用Hair＆Fur插件的頭發(fā)。 從頭部獲得用于產(chǎn)生毛發(fā)的網(wǎng)。 我解開了網(wǎng)格，并使UV的繪畫紋理，這將幫助我控制頭發(fā)參數(shù)，如密度。 然后我創(chuàng)建樣條用作指導(dǎo)修改器來創(chuàng)建我所尋找的發(fā)型。 最后，對于睫毛，我使用不透明的紋理。

Texturing and shading

I created baked occlusion maps for some parts of my character. Ambient Occlusion maps are a great way to give your texture that extra bit of depth. It can be used as reference when texturing, or it can be mixed with the texture itself to give more depth. Sometimes I use a gradient map in Photoshop to dye the occlusion. I tend to dye the occlusion on the skin with a reddish tint and I usually set the blend mode to Multiply.

For the skin, I used shellac material, blending the VRayFastSSS2 and VRayMtl materials to control the specular. This was particularly important to get the final aspect of skin.

As the gas station was abandoned a long time ago, I created textures by blending weathered decals and

scratched textures.

For the rocks, grass and plants, I dyed the textures using a color correction map to have more variation. The motorbike textures are 50% tiling textures.

紋理和陰影

我為我的角色的一些部分創(chuàng)建了烤瓷遮蔽貼圖。 環(huán)境遮擋地圖是一個(gè)偉大的方式來給你的紋理，額外的深度。 它可以用作紋理的參考，或者它可以與紋理本身混合以給出更多的深度。 有時(shí)我在Photoshop中使用漸變貼圖來染色遮擋。 我傾向于染色皮膚上的遮擋帶紅色的色調(diào)，我通常設(shè)置混合模式為乘法。

對于皮膚，我使用蟲膠材料，混合VRayFastSSS2和VRayMtl材料來控制鏡面。 這對于獲得皮膚的最后方面特別重要。

由于加油站被放棄了很久以前，我創(chuàng)造了紋理通過混合風(fēng)化貼花和

劃痕的紋理。

對于巖石，草和植物，我使用顏色校正圖來染色紋理，以具有更多的變化。 摩托車紋理是50％拼貼紋理。

Lighting and post-production

When everything was in place, I set the light. Nothing elaborate, just an HDRI and VRaySun. I then tweaked the shaders until I was happy with the result.

I separated the scene into two parts and made a render of each one: the character and the background. This was done mostly for flexibility as It allowed me to modify in sections.

I rendered different passes like beauty, specular, reflection, refraction, occlusion and Z-Depth.

Finally, I merged these passes in Photoshop, added the sky, painted in some final touches and modified some parameters like contrast, saturation, levels, curves and color correction to achieve the final result.

照明和后期制作

當(dāng)一切都到位，我設(shè)置光。 沒有什么精彩，只是一個(gè)HDRI和VRaySun。 然后我調(diào)整著色器，直到我對結(jié)果感到滿意。

我把場景分成兩部分，并做了每一個(gè)的渲染：字符和背景。 這主要是為了靈活性，因?yàn)樗�允許我修改部分。

我做了不同的傳遞，如美容，鏡面，反射，折射，遮擋和Z深度。

最后，我在Photoshop中合并了這些通道，添加了天空，繪制了一些最后的觸摸，并修改了一些參數(shù)，如對比度，飽和度，級(jí)別，曲線和顏色校正，以實(shí)現(xiàn)最終結(jié)果。