使用ZBrush創(chuàng)建卡通人物

都柏林的3D建模師Paul Deasy分享了他的創(chuàng)作過(guò)程，在ZBrush創(chuàng)建一個(gè)卡通人物...

Dublin based 3D modeler Paul Deasy shares his creation process for creating a cartoon character in ZBrush...

In this making of article I will go through my process from start to finish showing how I made the character sculpt, Mouse. I will go through the steps of my process and the tools which I use for each of them. Once done, I will talk briefly about my process when rendering my character.

在這篇文章的制作中，我將通過(guò)我的過(guò)程從開始到完成顯示我如何做字符雕刻。 我將展示我的創(chuàng)建過(guò)程的步驟和我使用的工具。 一旦完成，當(dāng)呈現(xiàn)我的性格,我將簡(jiǎn)要地談?wù)勎业倪^(guò)程。

Step 1: Creating the base mesh.

I decided to use a concept by Samuel Youn as a base for this project. I always make a base mesh for each new character, unless I have a tight deadline. For me, the base mesh is a very important part of the whole process as it creates the look and feel of the character. This step will decide the overall shapes and silhouette of the character. I started with primitives and kept them all separate so I would have ease of control when finding the primary forms. In ZBrush I used the Insert Sphere brush to place a sphere, separated it into new SubTools, and hit ZRemesh (for which I created a shortcut key for as I use this very often). I pulled it into shape where needed, for example the cranium and jaw are two different SubTools, and the nose is another. I continued this process down the whole body - this helped me to easily move each part without affecting the other parts, a well as leave a crisp line where each SubTool intersects. In the examples you can see the quick base mesh I made, showing how the body is split into different SubTools.

步驟1：創(chuàng)建基本網(wǎng)格。

我決定使用Samuel Youn的一個(gè)概念作為這個(gè)項(xiàng)目的基礎(chǔ)。我總是為每個(gè)新字符做一個(gè)基本網(wǎng)格，除非我有一個(gè)緊張的截止日期。對(duì)我來(lái)說(shuō)，基礎(chǔ)網(wǎng)格是整個(gè)過(guò)程的一個(gè)非常重要的部分，因?yàn)樗鼊?chuàng)造了人物的外觀和感覺(jué)。這個(gè)步驟將決定角色的整體形狀和輪廓。我開始制作，并讓他們分開，所以我將在找到主要形式時(shí)輕松控制。在ZBrush我使用插入球體刷放置一個(gè)球體，分離它到新的SubTools，并打ZRemesh（為此我創(chuàng)建了一個(gè)快捷鍵，因?yàn)槲医?jīng)常使用）。我把它拉成所需的形狀，例如顱骨和下頜是兩個(gè)不同的SubTools，鼻子是另一個(gè)。我繼續(xù)這個(gè)過(guò)程在整個(gè)身體 - 這幫助我輕松移動(dòng)每個(gè)部分，而不影響其他部分，留下一個(gè)線，每個(gè)SubTool相交。在示例中，您可以看到我做的快速基本網(wǎng)格，顯示如何將主體拆分為不同的SubTools。

The original concept by Samuel Youn

Samuel Youn的原始概念

A quick head sculpt

快速雕刻

Step 2: Finding nice shapes

At this point I referred back to the concept checking it against my model to make sure all the shapes were correct. Here I was looking for what I couldn't see in the concept and where they would be in 3D shape, e.g. what does her face look like straight on? The concept only shows it from a side view. I needed to be aware of the shape following the 2D while making sure it still looked good from a front view. Where you can sometimes cheat in 2D, you really can't get away with in 3D. In the concept her neck was described with broad strokes, but for the 3D I needed it to be more anatomically correct and to give her neck structure. I was conscious that it still read with the same shape language as the concept and that her neck worked anatomically, while still fitting to the simplistic style. Once I had all these shapes in place, I had a good sense of the character's personality.

步驟2：找到好的形狀

在這一點(diǎn)上，我提到了檢查它對(duì)我的模型的概念，以確保所有的形狀是正確的。 在這里，我在尋找我不能看到的概念，他們將在3D形狀，例如。 她的臉怎么樣？ 該概念僅從側(cè)視圖示出。 我需要知道2D之后的形狀，同時(shí)確保它仍然從前視圖看起來(lái)很好。 有時(shí)候你可以欺騙2D，你真的不能逃脫3D。在概念上她的脖子用粗線條的描述，但對(duì)于3D我需要更正確的解剖學(xué)和給她頸部的結(jié)構(gòu)。 我意識(shí)到它仍然讀取相同的形狀語(yǔ)言作為概念，她的頸部解剖工作，同時(shí)仍適合簡(jiǎn)單化的風(fēng)格。 一旦我有這些形狀，我有一個(gè)很好的感覺(jué)的性格的個(gè)性。

Step 3: Clothing and hair

At this stage I wanted the whole mesh to be one, but I also keep it in parts for posing, so I merged the visible (SubTool > Merge) which put everything together in a new tool. I then applied DynaMesh to the merged basemesh and then ZRemesher; this allowed me to use this mesh for masking and extracting the character's clothing. When I extracted the clothing the first thing I did was to isolate the inner faces that were closest to the basemesh's surface. I then deleted the hidden faces and flipped the normal of what was remaining so it faced outwards; this often needs to be inflated so it's not inside the model. This left me with a one sided mesh that I ZRemeshed as low as possible which helps with getting the correct shape. Using the ZModeler brush I extruded out the thickness of the cloth and added in the support edges for when I subdivide. At this stage I also added in the hair using the Insert Sphere brush and pulled it around with the Move brush, followed by some ZRemeshing.

步驟3：服裝和頭發(fā)

在這個(gè)階段，我想要整個(gè)網(wǎng)格是一個(gè)，但我也保留它的部分?jǐn)[弄，所以我合并了可見(jiàn)（SubTool>合并），把所有的東西放在一個(gè)新的工具。然后我將DynaMesh應(yīng)用于合并的basemesh和ZRemesher;這允許我使用這個(gè)網(wǎng)格掩蔽和提取角色的服裝。當(dāng)我提取衣服，我做的第一件事是隔離最接近basemesh的表面的內(nèi)部面。然后我刪除了隱藏的面孔，翻轉(zhuǎn)了剩下的東西，使它面向外面;這通常需要膨脹，所以它不在模型內(nèi)。這讓我有一個(gè)單面網(wǎng)格，ZRemeshed盡可能低，有助于獲得正確的形狀。使用ZModeler刷子，我擠出了布的厚度，并添加在支撐邊緣，當(dāng)我細(xì)分。在這個(gè)階段，我還使用Insert Sphere刷子添加在頭發(fā)中，并用Move刷子拉動(dòng)它，然后是一些ZRemeshing。

Step 4: Refining the model and posing

This step took the longest! With all the elements of the model sculpted I needed to add all the details and made sure the whole thing read well. I checked all the curves to make sure there are no parallel forms etc. Next I posed the model, I felt a subtle pose would be best rather than a really dynamic one, also I thought she would be on a ship. Posing the model was quite easy because I had all the parts on separate SubTools; I simply moved around the SubTools to get the look I wanted. I then DynaMeshed all the parts to get a single piece, such as meshing the fingers on to the hands, and the hands on to the arms. I followed this up with some smoothing and minor corrections where needed. I modeled a very simple stage for her to stand on to add to the narrative of the piece.

步驟4：精煉模型和構(gòu)成

這一步花了最長(zhǎng)的時(shí)間！ 有了模型的所有元素雕刻我需要添加所有的細(xì)節(jié)，并確保整個(gè)讀得好。 我檢查了所有的曲線，以確保沒(méi)有平行形式等。接下來(lái)我提出了模型，我覺(jué)得一個(gè)微妙的姿勢(shì)是最好的而不是一個(gè)真正動(dòng)態(tài)的，我也認(rèn)為她會(huì)在船上。 構(gòu)建模型是相當(dāng)容易，因?yàn)槲矣歇?dú)立的SubTools的所有部分; 我只是移動(dòng)SubTools來(lái)獲得我想要的外觀。 然后DynaMeshed所有的部分，以獲得一個(gè)單一的，如手指上的手，手上的手臂。 我跟著這一點(diǎn)有一些平滑和微小的修正， 我模仿了一個(gè)非常簡(jiǎn)單的舞臺(tái)，她站著，增加了這件作品的敘事。

Step 5: Decimation

Once I was happy and ready to move on to rendering I used the Merge Visible option to avoid having SubTools with the same name because preprocessing for decimation sends out an error message if any names are the same. I decimated the model as low as possible without the triangles becoming visible; this allows Maya to handle it better so the lower I could get it the better, as I was going to be making a lot of little tweaks and changes when moving lights around and changing the shaders and I really didn't want to have to sit around and wait every time I changed something! When going into Maya, I use a file called Render room that I import my models into to change my lights and shaders.

步驟5：抽取

一旦我很高興，準(zhǔn)備好繼續(xù)渲染，我使用合并可見(jiàn)選項(xiàng)，以避免SubTools具有相同的名稱，因?yàn)轭A(yù)處理的抽取發(fā)送出錯(cuò)消息，如果任何名稱相同。 我把模型盡可能低，沒(méi)有三角形可見(jiàn); 這使Maya能夠更好地處理它，所以更低的我可以得到它更好，因?yàn)槲視?huì)做很多小的調(diào)整和變化時(shí)移動(dòng)燈光和更改著色器，我真的不想坐 周圍，等待每次我改變了東西！ 當(dāng)進(jìn)入Maya時(shí)，我使用一個(gè)名為Render room的文件，我將我的模型導(dǎo)入到更改我的燈光和著色器。

Step 6: Final touches

Once the model was in Maya I needed to scale it and start setting up my render. I used a simple three light set up within a cube. I flipped the normal on the cube and in the settings turned off cast shadows so I could place the lights outside of it, which would still shine through the cube. I had one area light; I didn't use a spherical area light but rather a large rectangular light to get a nice soft lighting from one direction. Then I added a warm primary light and a cold back light to complement each other. I set the box color with the bounced light in mind as this needed to work with the color of the lights and also the feel of the character. I went with a bright and lively background as I imagined her on a ship at the sea, and then for the full body render I imagined the same thing but at night. Once all the lighting was sorted I took it all into Photoshop to make a few final value and color tweaks, and with that I was finished.

第6步：最后的接觸

一旦模型在Maya里，我需要擴(kuò)展它，并開始設(shè)置我的渲染。 我使用一個(gè)簡(jiǎn)單的三燈設(shè)置在一個(gè)立方體內(nèi)。 我翻轉(zhuǎn)了立方體的正常，在設(shè)置關(guān)閉投下陰影，所以我可以把它的光，它仍然照耀通過(guò)立方體。 我有一個(gè)區(qū)域的光; 我沒(méi)有使用球面光，而是一個(gè)大的矩形光，從一個(gè)方向得到一個(gè)很好的柔和的照明。 然后我添加了一個(gè)溫暖的主光和一個(gè)冷背光，互相補(bǔ)充。 我設(shè)置了盒子的顏色與反彈光，因?yàn)檫@需要工作與燈的顏色和字符的感覺(jué)。 我用明亮和活潑的背景去了，我想象她在海上的一艘船上，然后為了充分的身體渲染，我想象了同樣的事情，但在晚上。 一旦所有的燈光排序，我把它全部進(jìn)入Photoshop做一些最終的價(jià)值和顏色調(diào)整，與我完成了。