女戰(zhàn)士的制作

大家好！ 我是David de la Orden，我現(xiàn)在是一個(gè)自由字符藝術(shù)家。 這是我的最新項(xiàng)目的工作流程基于Marko Djurdjevic的概念之一。 我使用ZBrush，Maya，Photoshop，Substance Painter和Mudbox。 我希望你找到有用的提示，它可能會(huì)幫助你。 謝謝你的時(shí)間！

Hello everyone! I am David de la Orden and I am currently working as a freelance character artist. This is the workflow for my latest project based on one of Marko Djurdjevic's concepts. I used ZBrush, Maya, Photoshop, Substance Painter and Mudbox. I hope that you find useful tips and that it may help you somehow. Thanks for your time!

Step 01: Concept overview and gathering references

The first step for any project is to analyze the concept and try to understand how it will work in 3D, what materials the accessories are made of and how the character would use them. When I have a good idea of how I will approach the concept I start collecting references of all the relevant bits; in this case I looked for weapons, leather clothing, and images of female models and bodybuilders.

步驟01：概念概述和收集參考

任何項(xiàng)目的第一步是分析概念，并嘗試?yán)斫馑鼘⑷绾卧?D中工作，什么材料的配件，以及人物將如何使用它們。 當(dāng)我有一個(gè)好主意，我將如何接近的概念，我開(kāi)始收集所有相關(guān)位的引用; 在這種情況下，我尋找武器，皮革服裝和女模特和健美運(yùn)動(dòng)員的形象。

Step 02: Blocking

I start blocking in the body from a ZSphere in ZBrush using DynaMesh, I continue to build and refine the body and face until I find the right proportions and a silhouette that pleases me, then I start to model the hair, clothing, and accessories. I model most of them with Maya which is especially good for hard surface items like the shovel and the knife.

步驟02：阻塞

我開(kāi)始在ZBrush使用DynaMesh從一個(gè)ZSphere的身體阻塞，我繼續(xù)構(gòu)建和細(xì)化身體和臉，直到我找到正確的比例和一個(gè)剪影，我喜歡，然后我開(kāi)始模型的頭發(fā)，服裝和配件。 我模擬大多數(shù)他們與瑪雅，這是特別適合硬表面項(xiàng)目像鐵鍬和刀。

Step 03: Retopology and UVs

With the body and accessories modeled I move on to the retopology. For items that don't need edges flow or have any sharp forms, I just use ZRemesher - this is good for achieving a nice polycount in the lowest division without losing the main shape. This can be achieved by tweaking the ZRemesher controls in ZBrush, such as Target Polygons Count for lower number of polygons and Adaptive Size for a better looking topology. For things that require a refined topology and edge flow, such as the body, I use the Quad Draw in Maya.

步驟03：拓?fù)浜蚒V

隨著身體和配件建模我移動(dòng)到重建。 對(duì)于不需要邊緣流動(dòng)或具有任何尖銳形式的項(xiàng)目，我只是使用ZRemesher - 這是很好的實(shí)現(xiàn)一個(gè)漂亮的多帳戶在最低的分區(qū)，而不失去主要的形狀。 這可以通過(guò)調(diào)整ZBrush中的ZRemesher控件來(lái)實(shí)現(xiàn)，如針對(duì)較低數(shù)量的多邊形的目標(biāo)多邊形計(jì)數(shù)和用于更好查找拓?fù)涞淖赃m應(yīng)大小。 對(duì)于需要精細(xì)拓?fù)浜瓦吘壛鞯臇|西，例如身體，我使用Maya中的Quad Draw。

With good topology sorted I can start to unwrap the UVs, I prefer to use Maya for this. I find it is a good idea to delete faces that will not appear as it makes things a lot easier. After I open every single item, I organize the UV sets; I made four of them.

有良好的拓?fù)渑判蛭铱梢蚤_(kāi)始解開(kāi)UV，我更喜歡使用Maya這一點(diǎn)。 我發(fā)現(xiàn)這是一個(gè)好主意，刪除不會(huì)出現(xiàn)的面孔，因?yàn)樗�使事情更容易�?我打開(kāi)每一個(gè)項(xiàng)目后，我組織的UV集; 我做了四個(gè)。

Step 04: Detailing and baking maps

The UVs make the detailing process very easy. I use Noisemaker from ZBrush with brushes and alphas to emphasize details such as pores and wrinkles on the skin, leather fabric and fabric folds. Another cool trick is to use the layers for each feature you want to add to your detailing. When I'm done with the details, I bake the normal and displacement maps using the Multi Map Exporter. The image below shows my settings for baking.

步驟04：細(xì)化和烘焙地圖

UV使得詳細(xì)設(shè)計(jì)過(guò)程非常容易。 我使用來(lái)自ZBrush的Noisemaker用刷子和阿爾法強(qiáng)調(diào)細(xì)節(jié)，例如皮膚上的毛孔和皺紋，皮革織物和織物褶皺。 另一個(gè)很酷的訣竅是使用你想添加到細(xì)節(jié)的每個(gè)功能的圖層。 當(dāng)我完成細(xì)節(jié)，我使用多地圖導(dǎo)出器烘烤正常和位移地圖。 下圖顯示了我的烘焙設(shè)置。

Step 05: Posing and texturing

I use Transpose Master for posing, it's a very intuitive tool, but you should be careful not to distort your model while rotating or moving it. I always try to locate the joints of the bones when rotating; this gives a more natural look to the pose and the model.

步驟05：構(gòu)成和紋理

我使用Transpose Master來(lái)擺姿勢(shì)，這是一個(gè)非常直觀的工具，但你應(yīng)該小心，不要扭曲你的模型，而旋轉(zhuǎn)或移動(dòng)它。 我總是試圖找到骨骼的關(guān)節(jié)旋轉(zhuǎn)時(shí); 這給了姿勢(shì)和模型更自然的外觀。

For me adding texture is the most important step after sculpting. I use Photoshop, Mudbox and Substance Painter for all my texturing needs. For the skin I used the layer system inside Mudbox so I could control the skin tones more easily.

對(duì)我來(lái)說(shuō)，添加紋理是雕刻后最重要的一步。 我使用Photoshop，Mudbox和物質(zhì)畫(huà)家我所有的紋理需求。 對(duì)于皮膚我使用Mudbox內(nèi)的圖層系統(tǒng)，所以我可以更容易地控制膚色。

Step 06: Hair and rendering

To create the hair I use nHair in Maya. I made the overall shape of the hair with FiberMesh inside ZBrush and then export the curves to convert them into nHair. I use V-Ray Mtl_Hair as the hair shader.

步驟06：頭發(fā)和渲染

為了創(chuàng)造頭發(fā)我在Maya使用nHair。 我使用FiberMesh內(nèi)部的ZBrush制作了頭發(fā)的整體形狀，然后導(dǎo)出曲線將它們轉(zhuǎn)換為nHair。 我使用V-Ray Mtl_Hair作為頭發(fā)著色器。

I use V-Ray for rendering. I use one front light, one back light and an HDRi for global illumination. The background is a bended plane that bounces a little bit of the light. With the rendering complete my take on the concept is finished.

我使用V-Ray進(jìn)行渲染。 我使用一個(gè)前燈，一個(gè)背光和HDRi全局照明。 背景是一個(gè)彎曲的平面，彈出一點(diǎn)光。 渲染完成后，我的概念就完成了。