一個3 d的工作流

I am always looking for new ideas and concepts to work with; these sometimes simply pop out of my own imagination and others need I need to draw out by hand first. However, from time to time I find something that speaks to me from other artist's work. This was one of those times!

Modeling

I was in awe of a sketch of Batman by Joverine. I knew straight away that I just had to sculpt this character; his posture, head and expressions, along with the proportions, were what drew me to this image. I have looked at lots of ZBrushtutorials from artists such as Rafael Grassetti, Furio Tedeschi, Marco Plouffe; there is so much to learn from them and they have given me ways to use ZBrush more efficiently.
我在敬畏Joverine蝙蝠俠的草圖。,我知道我只需要塑造這個角色,他的姿勢,頭和表情,隨著比例,是什么吸引了我這張圖片。我看過很多ZBrushtutorials等藝術(shù)家拉斐爾Grassetti,法里奧泰德,馬可 普勞夫,有很多向他們學(xué)習(xí),他們給了我更有效地利用ZBrush的方法。
Joverine最初的概念
I started off with making a bust of the head to see if I could quickly capture Batman's expression. I used the Move, hPolish, Clay Buildup, and Clay brushes to create and develop the head and expression. Using DynaMesh in ZBrush I roughly sculpted in the basic proportions of Batman quite roughly. I had his proportions and all the rest in mind.
我開始做一個半身像的頭，看看我能否迅速捕捉蝙蝠俠的表情。我用移動，hpolish，Clay Buildup，和粘土筆刷創(chuàng)建和發(fā)展的頭部和表情。使用DynaMesh ZBrush我粗略雕刻在蝙蝠俠的基本比例大致相當(dāng)。我有他的比例和所有其余的銘記。
建模蝙蝠俠的頭

Modeling and detailing

I have now developed several ways of using ZBrush and find that modifying alphas of a brush is great for not getting lost in the panels of brushes that ZBrush has to offer. The Standard, ClayTubes and Clay brushes are handy for efficient construction; our control over them is high because we can change their alphas when necessary. Understanding and modeling correct anatomy is also a crucial part of any character sculpt; you need to give the body weight and plausible structure, as well as correctly positioning the weight according to the pose. Bearing can make or break a model.
現(xiàn)在已經(jīng)開發(fā)了使用ZBrush的幾種方法，正確理解和建模解剖學(xué)也是一個至關(guān)重要的人物造型的一部分,你需要給體重和合理的結(jié)構(gòu),以及正確定位的重量根據(jù)姿勢。軸承可以成就或者毀掉一個模型。
建模的身體
完成了粘土渲染

Light

Gumroad allows us to apprehend with "ease" the PolyPaint along with the BPR render. I sincerely suggest this tutorial, as it is pragmatic and reassuring. Everything comes more naturally as soon as we understand its ways and uses.
gumroad讓我們理解“逸”隨著BPR的多邊形著色渲染。我真誠地建議本教程，因?yàn)樗�是�?wù)實(shí)和放心。當(dāng)我們了解它的方式和用途的時候，一切都會變得更加自然。

Rendering and compositing

I used Rafael Grassetti's tutorial on rendering to help me understand how to use PolyPaint and BPR render. I found that having watched the tutorial I was able to use them more naturally and understand their possible applications. Once I had all the passes I needed, I put them together by building a stack of layers in Photoshop. By using the Layer and Clipping masks I was able to play around with the lighting and reflections as well as the textures and colors.
我用拉斐爾Grassetti渲染的教程來幫助我了解如何使用PolyPaint和BPR渲染。我發(fā)現(xiàn)看到的教程我能夠更自然和了解其可能的應(yīng)用程序中使用它們。一旦我能得到我所需要的所有的經(jīng)過,我把它們放在一起在Photoshop中通過構(gòu)建一個堆層。使用層和剪裁面具我能夠玩的照明和反射以及紋理和顏色。
渲染通道
通過分層

Finalization

With all the passes and lighting sorted all that was left to do was fiddle with the levels and curves in ZBrush to add texture and a certain depth to the image. I hope you have found this quick workflow useful.
所有的經(jīng)過和照明分類剩下要做的就是擺弄水平和曲線在ZBrush添加紋理和一定深度的形象。我希望你已經(jīng)發(fā)現(xiàn)這個快速工作流有用。
近距離的蝙蝠的頭