zbrush制作“小龍”詳細(xì)教程

For UV I usually use the application called Unfold3D. It's a useful and very simple program. You can see the final texture coordinates here (Fig.06).
對于UV我通常使用稱為Unfold3D的應(yīng)用程序。 這是一個有用和非常簡單的程序。 您可以在此處看到最終的紋理坐標(biāo)（圖06）。
Creating the details is my favorite process among all the stages of character modeling and ZBrush is the ideal assistant for it. It's a real pleasure to see how your model comes to life. Usually I divide the sculpting into three phases. First of all I work on the base groups of muscles and on the main shapes, increasing the subdivs gradually. Next I start to sculpt some medium-sized details, such as the folds of skin for example. And finally I added the smallest minutiae (wrinkles, scales etc) using lots of different Alpha brushes to save tons of time (Fig.07). 
創(chuàng)建細(xì)節(jié)是我在角色建模的所有階段中最喜歡的過程，ZBrush是理想的助手。 通常我將雕刻分為三個階段。 首先，我在肌肉基礎(chǔ)組和主要形狀上工作，逐漸增加細(xì)分。 接下來，我開始雕刻一些中等大小的細(xì)節(jié)，例如皮膚的褶皺。 最后我用很多不同的Alpha刷子添加了最小的細(xì)節(jié)（皺紋，鱗片等），節(jié)省了大量的時(shí)間（圖07）。
After sculpting I had to transfer all the high resolution details from ZBrush to 3ds Max. Usually I do this with the help of a Displacement map and Normal bump. I chose V-Ray for the rendering of my dragon. ZBrush can generate perfect Relief maps and Vray is able to process them excellently (Fig.08).
雕刻后，我不得不將所有的高分辨率細(xì)節(jié)從ZBrush轉(zhuǎn)移到3ds Max。 通常我通過位移圖和正常碰撞的幫助來做到這一點(diǎn)。 我選擇V-Ray來渲染我的龍。 ZBrush可以生成完美的浮雕貼圖，而且Vray可以很好的處理它們（圖08）。
There is nothing special about the settings I used (Fig.09).
我沒有使用什么特別的設(shè)置（圖09）
In the next step I drew the texture. I painted the model directly in ZBrush with a Standard brush and without any tricks or complicated settings. The final texture was edited in Photoshop to add some shadows and small details. Periodically I saved the stages of work and rendered them in 3ds Max to give me a more obvious concept about the appearance of the dragon's skin color for the future. You can see the process of painting in Fig.10. I have to apologize for the black background, but these are the old WIP-pictures which I saved for my own workflow, and I didn't think that I would write the article about this model! You may notice some blue glow on the dragon's back in the last render. I made it with a Falloff map to imitate the sky light and different reflexes.
在下一步中，我畫出紋理。 我在ZBrush中直接用標(biāo)準(zhǔn)畫筆畫模型，沒有任何技巧或復(fù)雜的設(shè)置。 最后的紋理在Photoshop中編輯，添加一些陰影和細(xì)節(jié)。 定期地，我保存了工作的階段，并在3ds Max中給出了一個關(guān)于未來龍皮膚色的外觀的更為明確的概念。 您可以在圖10中看到繪畫的過程。 我必須為黑色背景道歉，但這些是我為自己的工作流程保存的舊WIP圖片，我沒有想到我會寫關(guān)于這個模型的文章！ 在最后的渲染中，你可能會注意到龍的背面有一些藍(lán)色的光芒。 我做了一個衰減地圖來模仿天空光和不同的反射。
The finished texture is shown in Fig.11.
完成的紋理如圖11所示。
When all the textures were ready, I could make the necessary pose for my model. I didn't spend time on the rig because I knew I was only going to create two images with the dragon and didn't need to make an animation. For posing I again used ZBrush (Fig.12 - 13).
當(dāng)所有的紋理都準(zhǔn)備好了，我可以為我的模型做出必要的姿勢。因?yàn)槲抑�道我只會用龍�?chuàng)造兩個圖像，不需要制作動畫。 我再次使用ZBrush（圖12-13）。

Now it's time to tell you about the final render. I will talk about only one image because for the second one I used the same principles.
現(xiàn)在是時(shí)候告訴你最后的渲染了。 我只談一個圖像，因?yàn)榈诙�個我使用相同的原則。
Primarily I had to choose suitable lighting to give the picture the necessary mood. I divided this phase into three stages:
主要是我不得不選擇合適的照明給圖片必要的情緒。 我把這個階段分為三個階段：

1. Selecting the light sources and placing them in the scene to get the required level of lighting and shapes of shadows.
2. Switching on the GI and tuning the rendering settings
3. Choosing a fitting HDR map.

選擇光源并將其放置在場景中，以獲得所需的照明水平和陰影形狀。
打開GI并調(diào)整渲染設(shè)置
選擇合適的HDR地圖。
All these steps were made with a simple gray material on the models. Finally I got the result shown in Fig.14.
所有這些步驟都是用模型上的簡單灰色材料制成的。 最后得到如圖14所示的結(jié)果。
After that I was ready to work with the material of the dragon's skin in my scene. It was necessary to get the final renders as soon as possible and that's why I decided not to spend time making complicated shaders and planned to get the necessary results with the help of the post-production process. The only important thing in the material was the specular parameter. In the end I was satisfied with the following settings (Fig.15).
之后，我準(zhǔn)備好在我的場景中融入龍的材質(zhì)。 有必要盡快獲得最終的渲染，這就是為什么我決定不花時(shí)間做復(fù)雜的著色器，并計(jì)劃在后期制作過程的幫助下獲得必要的結(jié)果。材質(zhì)中唯一重要的是鏡面參數(shù)。 最后我對以下設(shè)置感到滿意（圖15）。
The material for the eyes is a simple VrayMtl with faint reflection, glitter and texture painted in Photoshop.
眼睛的材質(zhì)是一個簡單的VrayMtl，在Photoshop中繪有微弱的反射，閃光和紋理。
When I'd finished all the materials I had to fix my rendering settings and the parameters of the light sources a little. The final rendering of the dragon in 3ds Max is demonstrated here (Fig.16).
當(dāng)我完成所有的材質(zhì)，我不得不修復(fù)我的渲染設(shè)置和光源的參數(shù)一點(diǎn)。 這里演示了3ds Max中龍的最終渲染（圖16）。
You may notice that it's a rough and unpleasant render, but the most important things for me are there - a cleanness and the absence of strong highlights and deep shadows. The lighting system and rendering setup are shown in Fig.17 - 19.
你可能會注意到這是一個粗暴和不愉快的渲染，但對我來說最重要的是 - 清潔，沒有強(qiáng)烈的亮點(diǎn)和深刻的陰影。 照明系統(tǒng)和渲染設(shè)置如圖17-19所示。
The final render was saved like a TIFF with the alpha channel. Besides this I created some additional layers such as VRayDiffuseFilter, VRaySpecular and VRayAlpha, which I planned to use for post-production.
最終的渲染被保存為像Alpha通道的TIFF。 此外，我創(chuàng)建了一些額外的層，如VRayDiffuseFilter，VRaySpecular和VRayAlpha，我打算用于后期制作。
All further work was done in Photoshop. First of all I drew a simple background and tuned the brightness and the hue of my dragon (Fig.20).
所有進(jìn)一步的工作都在Photoshop中完成。 首先我畫了一個簡單的背景，并調(diào)整了龍的亮度和色調(diào)（圖20）。
I then marked some areas on the character with the mask and made them darker. I then added the shadows on the neck. I also used the Burn tool for some parts (Fig.21).
然后我用面具標(biāo)記了角色上的一些區(qū)域，使它們變得更暗。 然后我把陰影加在脖子上。 我也使用了一些零件的刻錄工具（圖21）。
In the same way I added the spotlit zones on the model to underscore the back lighting (Fig.22).
以相同的方式，我在模型上添加了光斑區(qū)域以強(qiáng)調(diào)后照明（圖22）。
The next step was the most important because it let me liven up the dragon. I created the layer with Multiply mode and drew some small details like scales and wrinkles there. Also I rotated the eye a little because its initial direction didn't look so good (Fig.23).
下一步是最重要的，讓我的龍活躍起來，我用Multiply模式創(chuàng)建了圖層，并在那里繪制了一些細(xì)小的細(xì)節(jié)，如鱗片和皺紋。龍的眼睛我也旋轉(zhuǎn)了一點(diǎn)，因?yàn)樗�的初始方向看起來不那么好（圖23）。
The other important step was adding the glitter. Firstly I put my rendered VRaySpecular pass in the file with Screen mode. After that I created another layer and painted some areas of the scales with white to make the reflection stronger (Fig.24).
另一個重要的步驟是添加閃光。 首先，我將渲染的VRaySpecular pass放在屏幕模式的文件中。 之后，我創(chuàng)建了另一層，并用白色繪制了鱗片的一些區(qū)域，使反射更強(qiáng)（圖24）。
Next I added a little more detail to the face of my dragon and shadows from the eyelid to his eyes (Fig.25).
接下來，我向我的龍和眼睛的臉上添加了更多的細(xì)節(jié)，從眼瞼到眼睛（圖25）。
I was happy with the appearance of my character, but the spikes on his back looked too plastic. That's why I created a new layer and, painting with a simple brush, I smoothed the relief of the comb to make him look soft. Further I selected the spikes and duplicated them to a new layer with Hard Light mode and a big value of opacity. It helped me to simulate the SSS effect. After that I created another layer with Screen mode and painted the glare on the dragon's comb with white (Fig.26).
我很滿意我的角色的外觀,但他背上的尖峰看起來太堅(jiān)硬了。這就是為什么我創(chuàng)造了一個新的層面，用一個簡單的畫筆繪畫，我平滑了梳子的浮雕，使他看起來柔軟。 此外，我選擇了尖峰，并將它們復(fù)制到具有硬光模式和大的不透明度值的新層。 它幫助我模擬SSS效應(yīng)。 之后，我創(chuàng)建了一個屏幕模式的另一層，并在龍的梳子上用白色涂上眩光（圖26）。
At this stage I decided that I liked the style of my character and I started to work with the background. Mixing a few blurred photos and using color correction I got a nice environment which was suitable for my dragon, camera angle and mood of the scene (Fig.27).
在這個階段，我決定我喜歡我的風(fēng)格，我開始工作的背景�；旌弦恍┠：�的照片和使用色彩校正我有一個很好的環(huán)境，我的龍是合適的，現(xiàn)場的攝像機(jī)角度和情緒（圖27）。
After that I had to composite the character and background. It was enough to make the sky glow for that. I duplicated all the layers, merged them into a new one with Screen mode, added a strong contrast to this resulting layer and blurred it. Next, with the simple Eraser tool and opacity parameter, I tuned the glow effect (Fig.28).
之后我不得不合成角色和背景。 這樣做足以使天空發(fā)光。 我復(fù)制了所有的圖層，將它們合并成一個新的屏幕模式，增加了與此結(jié)果層的強(qiáng)烈對比，并使其模糊。 接下來，使用簡單的橡皮擦工具和不透明度參數(shù)，我調(diào)整發(fā)光效果（圖28）。
And that's all! Later I finished off the second image in the same way (Fig.29).
這就是全部！后來我完成了同樣的第二圖像（圖29）。
Finally I'd like to say that the method that I described is not ideal and has some weaknesses. But it allowed me to get a nice render that matched with the author's original idea in a short amount of time. And I often use such a method in my job.
最后我想說的是，我描述的方法并不理想，有一些弱點(diǎn)。但它讓我得到了一個漂亮的渲染與作者的原始想法在很短的時(shí)間。我經(jīng)常在工作中使用這種方法。
I hope that this article was interesting and useful for you, and that you could find something new here。
 我希望這篇文章對你有意義和有用，你可以在這里找到新的東西。