寵物和怪物的制作

圖像的想法是基于我開發(fā)的一個短小的故事，對于那個故事，我需要一些相對簡單但有趣的人物。 基于鴨子角色我將顯示我用于創(chuàng)建寵物和怪物圖像的所有角色的建模技術(shù)。 具有中級Modo技能的用戶將能夠跟蹤此簡要項目概述。

The idea for the images is based on a short story that I have developed and for that story I needed some relatively simple but interesting characters. Based on The Duck character I will show the modeling techniques that I used to create all the characters for the Pets and Monsters image. Users with intermediate Modo skills will be able to follow up this brief project overview.

For the most of my characters I use to draw a quick sketch to be used as reference. Sometimes I can stick to the 2D sketch, but sometimes I have go further and make different changes on the character during the modeling stage, in order to achieve the look that I want in 3D.

對于我的大多數(shù)角色，我用來繪制一個快速草圖作為參考。 有時我可以堅持2D草圖，但有時我會進一步，在建模階段對字符做不同的更改，以實現(xiàn)我想要的3D的外觀。

For most of my work I use a combination of Box Modeling, Polygon Modeling and Sculpting in combination with the other tools that Modo has to offer.

對于我的大部分工作，我使用框架建模，多邊形建模和雕刻的組合與Modo提供的其他工具的組合。

Head Base

I start the work with the head of the duck model. For that I created a sphere using the Solid Sketch Tool, with a Subdivision Mode of Level 2. After that I have hit S key to Subdivide the sphere, and using the Transform Move Tool, W key in combination with the Transform Scale Tool, W key and Falloff set to Soft Selection I have shaped the base of the head to fit the look of the sketch and my needs. The next step was to create a copy of the head base mesh that was used as Mesh Constraints over the next steps.

頭基

我開始做鴨模型的頭。 為此，我使用實體繪圖工具創(chuàng)建了一個球體，細分模式為2級。之后，我按S鍵細分球體，并使用變換移動工具，W鍵與變換縮放工具組合，W 鍵和衰減設(shè)置為軟選擇我已塑造頭的基礎(chǔ)，以適應(yīng)素描和我的需要的外觀。 下一步是創(chuàng)建一個被用作網(wǎng)格約束的頭部基本網(wǎng)格的副本。

The beak

To model the beak I used the Pen Tool in combination with the Transform Tool, T key to create one rough half of the beak shape. After that I have mirrored the polygons on the X Axis to get the other half of the beak. Using the Thicken Tool I got the thickness that I needed to create the finale shape of the beak. By using Subdivision and the Sculpt Tools like, Move and Push in combination with the Bevel Tool and the Transform Move tool I gave the beak the shape that I needed and also added the nostrils and the crease between upper and lower beak part.

喙

為了模擬喙，我使用鋼筆工具結(jié)合變形工具，T鍵創(chuàng)建一個粗糙的一半的喙形狀。 之后，我鏡像了X軸上的多邊形，得到另一半的喙。 使用Thicken工具我獲得了創(chuàng)建喙的最終形狀所需的厚度。 通過使用細分和雕刻工具，像移動和推，結(jié)合斜角工具和變換移動工具，我給了喙我需要的形狀，還添加了鼻孔和上下喙部分之間的折痕。

Eyes

I used the Solid Sketch Tool to create one eye shape that has been duplicated and scaled to get the outer eyelid mesh that I needed. After that I deleted a few polygons from the lower part of the eyelid mesh, rotate it a bit on the Y Axis, and used the Thicken Toll to close the eyelid shape around the eye. Then I used the Transform Move Tool and the Transform Scale Tool to place and scale the other three eyes on the head and using the Mirror Tool to duplicate them. The next step was to delete the back half of the eyelid meshes and also the corresponding head polygons. Using the Edge Extend and the Bridge Tool I have connected the eyelid meshes to the head.

眼睛

我使用固體草圖工具來創(chuàng)建一個眼睛形狀，已經(jīng)重復(fù)和縮放，以獲得我需要的外眼瞼網(wǎng)格。 之后，我從眼瞼網(wǎng)的下部刪除了一些多邊形，在Y軸上旋轉(zhuǎn)一點，并使用Thicken Toll關(guān)閉眼睛周圍的眼瞼形狀。 然后我使用變換移動工具和變換縮放工具放置和縮放其他三個眼睛在頭上，并使用鏡像工具來復(fù)制它們。 下一步是刪除眼瞼網(wǎng)格的后半部分以及相應(yīng)的頭部多邊形。 使用邊緣延伸和橋梁工具我已經(jīng)將眼瞼網(wǎng)眼連接到頭部。

Body

As done before for the head, I used the Solid Sketch Tool to create the basic shape of the body that was then refined using the Transform tools in combination with Soft Selection, Smooth and Bevel tool. The arms and the legs were created using the Tube Tool with 8 sides and one segment. The foot was created using the Pen Tool in combination with Thicken Tool like the beak. Then I have positioned the arms and the legs to fit to the body, and using the Bridged Tool on Edge mode I have connected them to the body and the body to the head. Using the bevel tool I made the shirt look and after that, I modeled the hat and the hands using Box modeling techniques.

身體

如前所述，我使用實體素描工具創(chuàng)建主體的基本形狀，然后使用變形工具結(jié)合軟選擇，平滑和斜角工具進行細化。 手臂和腿是使用管工具與8邊和一段創(chuàng)建。 腳是使用筆工具結(jié)合Thicken工具，如喙創(chuàng)建的。 然后我把手臂和腿放在身體上，使用邊緣模式下的橋接工具我把他們連接到身體和身體到頭部。 使用斜角工具，我做了襯衫看起來和之后，我模型的帽子和手使用框架建模技術(shù)。

UW Unwrapping

To prepare the model for UV unwrapping I have created an own mesh item for all the duck parts. Then starting with the body I have selected the seams in Edge Mode and used the Unwrap Tool to create the texture map. In UV mode I used the UV Relax Tool in Adaptive or Mode to get rid of stretching or overlapping. Once I was happy with the result I have subdivided the mesh once more and used the Relax Tool and the Pack UVs Tool to get a nice texture map, which I have exported as .eps file via Export UVs to EPS. I have repeated that procedure for all the body parts and then I have merged the different mesh items into one and named it duck.

UW展開

為了準(zhǔn)備UV解卷的模型，我已經(jīng)為所有的鴨子部分創(chuàng)建了一個自己的網(wǎng)格物體。 然后從身體開始，我選擇了邊緣模式中的接縫，并使用解卷工具創(chuàng)建紋理貼圖。 在UV模式下，我使用自適應(yīng)或模式下的UV放松工具來擺脫拉伸或重疊。 一旦我對結(jié)果滿意，我再次細分網(wǎng)格，并使用Relax工具和Pack UVs工具來獲得一個很好的紋理貼圖，我已經(jīng)導(dǎo)出為eps文件通過Export UVs到EPS。 我已經(jīng)為所有的身體部位重復(fù)了這個過程，然后我已經(jīng)將不同的網(wǎng)格物體合并成一個，并命名為鴨。

Texturing

In Modo I have created separate materials for the body, eyes, beak, shirt and hat. The texture maps for the different materials have been created in Photoshop. For that I have opened the EPS file at 2048x2048 pixels and by using layers and different paint tools I created the map that I needed. The file was then saved as .tga and added to the material as Diffuse Color and as Subsurface Color. I have repeated the steps for the other maps needed and at the end I have tweaked the material settings to get the results I needed for each duck part. To get the look that I needed for the scene I have created the texture maps for the other characters by choosing colors that will complement each other and that will help to separate the characters in the final composition.

紋理

在Modo我為身體，眼睛，喙，襯衫和帽子創(chuàng)造了獨立的材料。 不同材質(zhì)的紋理貼圖已在Photoshop中創(chuàng)建。 為此，我已經(jīng)打開了EPS文件2048x2048像素，通過使用圖層和不同的繪圖工具，我創(chuàng)建了我需要的地圖。 然后將文件另存為tga，并作為漫反射顏色和下表面顏色添加到材質(zhì)。 我已經(jīng)重復(fù)了所需的其他地圖的步驟，最后我調(diào)整了材料設(shè)置，以獲得我需要的每個鴨子的結(jié)果。 為了獲得場景所需的外觀，我通過選擇將互補的顏色為其他字符創(chuàng)建紋理貼圖，這將有助于分離最終作品中的字符。

Scene Setup

Once all the characters and assets where ready I have created a new scene and I have imported all the characters with the materials in the new scene. After that I have adjusted the Camera setting according to my needs and started to position all the characters and the assets to build up the final look of the scene.

The next step was to set the Render settings for Antialiasing at 32Sampels/Pixel and the filter to Catmull-Rom. I have changed the Shading rates to 0.1 pixels and Refinement Threshold to 5.0%. I have also turned on the Adaptive Subdivisions and the Micropoly Displacement.

場景設(shè)置

一旦所有的字符和資產(chǎn)，準(zhǔn)備好我已經(jīng)創(chuàng)建了一個新的場景，我已經(jīng)導(dǎo)入所有的字符與新的場景中的材料。 之后，我已根據(jù)我的需要調(diào)整相機設(shè)置，并開始定位所有的字符和資產(chǎn)，以建立場景的最終外觀。

下一步是設(shè)置抗鋸齒的渲染設(shè)置為32Sampels / Pixel，過濾器設(shè)置為Catmull-Rom。 我已經(jīng)將陰影率更改為0.1像素，精細度閾值更改為5.0％。 我也打開了自適應(yīng)細分和微聚位移。

Lights and GI

Next step was to create a second light name it rim light positioned behind the scene. The Main Light was set to illuminate the scene from up left and then I have adjusted the Radiant Exitance and the light color for the main light to a white/blue and the other one to white/yellow. The next step was to turn on the Global Illumination and to set the Subsurface Scattering mode to both.

After that I added a plane polygon to the scene and created a Plane material with a Shader Layer set to Catch Shadows.

燈和GI

下一步是創(chuàng)建一個第二個光的名稱，它的邊緣燈光定位幕后。 主燈被設(shè)置為從左上方照亮場景，然后我已經(jīng)調(diào)整輻射率和主光的光顏色為白色/藍色，另一個為白色/黃色。 下一步是打開全局照明并將次表面散射模式設(shè)置為兩者。

之后，我添加了一個平面多邊形到場景，并創(chuàng)建一個平面材質(zhì)，著色器層設(shè)置為捕捉陰影。

Environment and passes

To get the perfect mood for the scene I have used the Grass Field Preset for the Environment. The next step was to duplicate the Environment. One was set Visible to Rays and the other one was set Visible to Camera, with a 4 Color Gradient that will create the illusion of the ground and the sky in the scene. The last steps before the render were to add some more Render Outputs for Alpha, Ambient Occlusion and Depth. The Occlusion Range was set to 50 mm and Maximum Depth to 30m. After once short check to see if all the characters are on the ground and nothing floats it was time to start the Rendering.

環(huán)境和通行證

為了獲得場景的完美情緒，我使用了草場環(huán)境預(yù)置。 下一步是復(fù)制環(huán)境。 一個設(shè)置為可見光線，另一個設(shè)置為可見相機，與4色漸變，將創(chuàng)建地面和天空的場景中的幻覺。 渲染之前的最后一步是為Alpha，環(huán)境遮擋和深度添加一些更多的渲染輸出。 遮擋范圍設(shè)置為50mm，最大深度設(shè)置為30m。 一旦短暫檢查，看看所有的字符是否都在地面上，沒有浮動，是時候開始渲染。

Photoshop Adjustment

In Photoshop I have opened the Final Render Output and added the Ambient Occlusion Output on a new layer above with the Layer mode to Multiply and the Opacity to 40%. Then I made a copy of the Final Render Output and moved it above the AO layer and set the mode to Soft Light with Opacity to 70%.That step will help to take out the cg dullness and to add some vibrancy to the final illustration. In Chanel mode I have added the Depth Output as Alpha 2 and then I have used it as Source in the Lens Blur Filter to add some depth to the final illustration.

I hope this short overview was helpful for your future projects.

Photoshop調(diào)整

在Photoshop中，我打開了最終渲染輸出，并在上一個新層添加了環(huán)境遮擋輸出，圖層模式為乘法，不透明度為40％。 然后我制作了一個最終渲染輸出的副本，并將其移動到AO層之上，并將模式設(shè)置為不透明度為70％的柔光。這一步將有助于取出cg遲鈍，并添加一些活力到最后的插圖。 在Chanel模式中，我已經(jīng)將深度輸出添加為Alpha 2，然后我在鏡頭模糊濾鏡中將其用作源，以向最終的插圖添加一些深度。

我希望這個簡短的概述有助于您的未來項目。