創(chuàng)建一個未來派的機(jī)器人角色

在本教程中，我將解釋我如何用武器和配件創(chuàng)建一個未來派的機(jī)器人角色。 我在整個雕刻過程中使用了DynaMesh，逐漸增加了polycount來添加更多細(xì)節(jié)。 最終結(jié)果是從ZBrush導(dǎo)出的幾個渲染通道創(chuàng)建的圖像，并放在Photoshop中。

In this tutorial I will explain how I created a futuristic cyborg character with weapons and accessories, finished off with a plinth for the character to help tell a story. I used DynaMesh throughout the sculpting process, gradually increasing the polycount to add more details. The end result was an image created from several render passes exported from ZBrush and put together in Photoshop.

Starting with a base mesh in ZBrush

I wanted this character to be based on human anatomy, so I loaded a female base mesh. Using a base mesh saves time when compared to starting from ZSpheres (which I usually do when creating non-humanoid characters).

After modifying the model's proportions slightly, I duplicated it and turned on Transparency, which allowed me to sculpt on the top SubTool while seeing the base mesh underneath.

Using the Move and Clay brushes, I created the basic shapes of the armor around the model's anatomy. I then used DynaMesh to increase the polygon count and create an even mesh ready to add further details.

TIP: It's sometimes necessary to cut out straight lines in the mesh, for example, on seams or metal panels. To do this you can hold down the left-mouse-button and then hold down the Shift-key and drag the mouse ? the mouse cursor will then snap to a straight line.

從ZBrush中的基本網(wǎng)格開始

我希望這個角色是基于人體解剖學(xué)的，所以我加載了一個女性的基礎(chǔ)網(wǎng)格。 與ZSpheres（通常在創(chuàng)建非人形字體時通常會做）相比，使用基礎(chǔ)網(wǎng)格節(jié)省時間。

在稍微修改了模型的比例后，我復(fù)制了它，并打開了“透明度”，這樣我可以在頂部的SubTool上雕刻，同時看到底部的網(wǎng)格。

使用移動和粘土刷子，我創(chuàng)建了圍繞模型解剖結(jié)構(gòu)的護(hù)甲的基本形狀。 然后我使用DynaMesh增加多邊形數(shù)量，并創(chuàng)建一個均勻的網(wǎng)格，準(zhǔn)備添加更多的細(xì)節(jié)。

提示：有時需要在網(wǎng)格中切出直線，例如在接縫或金屬面板上。 為此，您可以按住鼠標(biāo)左鍵，然后按住Shift鍵并拖動鼠標(biāo)？ 然后鼠標(biāo)光標(biāo)將捕捉到直線。

Creating the head and limbs

I decided to separate the arms and lower legs in order to sculpt them individually; this also made posing the character easier later on.

To create the robotic feet I cut off the toes, closed the mesh and formed the new toe using a mask with the Move brush. Using the same method I created the heel. After using DynaMesh on the SubTool, I was able to split the foot up into sections and add some details. After making large changes to the shape of the arm, I used DynaMesh and then added rough details to create the impression of armor.

I decided to make the head look more robotic than human so I sectioned it up into panels using the DamStandard brush and did some initial polishing to give the impression of hard surfaces.

創(chuàng)造頭和四肢

我決定分開胳膊和小腿，分別雕刻他們; 這也使得后來的角色變得更容易。

為了創(chuàng)建機(jī)器人腳，我切斷了腳趾，關(guān)閉了網(wǎng)格，并用Move刷子使用面罩形成了新的腳趾。 使用相同的方法，我創(chuàng)建了腳跟。 在SubTool上使用DynaMesh之后，我可以將腳分成幾部分并添加一些細(xì)節(jié)。 在對臂的形狀進(jìn)行了大的改變后，我使用了DynaMesh，然后添加了粗略的細(xì)節(jié)來創(chuàng)造出裝甲的印象。

我決定讓頭看起來比人類更加機(jī)器人，所以我用DamStandard刷子把它分成面板，并做了一些初步的拋光，給人以硬表面的印象。

Creating the cape

To create the cape, I inserted a plane as a new SubTool, turned on Symmetry and activated Double in the Display properties to make both sides of the plane visible.

Using the Move brush I molded the shape of the plane around the character's head and shoulders. I then used DynaMesh to increase the polycount and create an evenly distributed mesh. This allowed me to easily sculpt large details using the Clay and Move brushes. After I had made more changes to the shape, I ran DynaMesh again to create a higher polycount.

The next step was to sculpt the finer folds and creases of the cape. As well as the Clay and Move brush, I used the Pinch brush along the crease to sharpen them.

創(chuàng)建斗篷

要創(chuàng)建斗篷，我將一個 plane作為新的SubTool插入，打開Symmetry并在Display屬性中激活Double，使平面的兩邊都可見。

使用移動刷我模仿了人物頭部和肩膀周圍的平面形狀。 然后我使用DynaMesh來增加多邊形計數(shù)，并創(chuàng)建均勻分布的網(wǎng)格。 這讓我很容易地使用粘土和移動刷子雕刻大的細(xì)節(jié)。 在對形狀進(jìn)行了更改后，我再次運(yùn)行DynaMesh創(chuàng)建更高的多邊形。

下一步是雕刻海角更好的褶皺和褶皺。 除了粘土和移動刷子，我使用夾子刷沿著折痕來銳化它們。

Creating hard surfaces with Panel Loops

Up until this point I had been using just the Flatten and Smooth brushes to create the hard surfaces, so I decided to try using one of the new features of ZBrush ? Panel Loops.

I masked out the section of the mesh I wanted to make into a panel and created a Polygroup from the mask. In order to only use Panel Loops on that area, I hid everything else by holding Shift+Ctrl and clicking on the Polygroup. Under the Geometry sub-palette, I turned off the Double property of the Panel Loops tool so the panel it created would stay connected to the mesh. I also set Polish to 25 to create a smoother surface. I then repeated this process for the whole character model.

使用面板循環(huán)創(chuàng)建硬面

直到這一點(diǎn)，我一直在使用Flatten和Smooth畫筆創(chuàng)建硬表面，所以我決定嘗試使用ZBrush的一個新功能， 面板循環(huán)

我將我想要制作的網(wǎng)格部分屏蔽到面板中，并從面具創(chuàng)建了一個Polygroup。 為了僅在該區(qū)域使用面板循環(huán)，我通過按住Shift + Ctrl并單擊Polygroup來隱藏所有其他內(nèi)容。 在幾何子調(diào)色板下，我關(guān)閉了“面板循環(huán)”工具的“雙”屬性，使其創(chuàng)建的面板將保持與網(wǎng)格物體的連接。 我也將波蘭人設(shè)置為25，以創(chuàng)造一個更光滑的表面。 然后，我對整個人物模型重復(fù)了這個過程。

Sculpting details

After creating all of the hard surface panels, I added more details and separation lines using the DamStandard brush. Then I added countersunk holes at the edges of the panels using the Standard brush with a circular alpha set to DragRect ? these would be used to place screw mesh inserts later. To define more details on the upper legs, I used the Pinch and Smooth brushes to create the look of material wrapped around mechanical parts.

雕刻細(xì)節(jié)

在創(chuàng)建所有硬面板后，我使用DamStandard刷子添加了更多細(xì)節(jié)和分隔線。 然后我使用標(biāo)準(zhǔn)畫筆在面板的邊緣添加了埋頭孔，其中設(shè)置了一個設(shè)置為DragRect的圓形字母？ 這些將用于稍后放置螺絲網(wǎng)片。 為了在大腿上定義更多的細(xì)節(jié)，我使用了捏和光滑刷來創(chuàng)建包裹在機(jī)械部件周圍的材料的外觀。

Adding details with mesh inserts

To add some realism to the mechanical parts of the character, I added vents and screws using the mesh insert library that comes with ZBrush. After inserting the first screw I held Ctrl down while inserting the next screw, making it snap to the same size, which saved time checking the screws were consistent.

使用網(wǎng)格插入添加細(xì)節(jié)

為了添加一些現(xiàn)實(shí)主義的角色的機(jī)械部分，我添加了通風(fēng)口和螺絲使用ZBrush附帶的網(wǎng)格插入庫。 插入第一個螺絲后，在插入下一個螺絲的同時按住Ctrl鍵，使其卡入相同的尺寸，節(jié)省了檢查螺絲的時間。

Creating the accessories and posing

When the character was complete, I moved on to creating the weapons and clothing. Initially, I created a sword that would sit on the hip of the character. The sword started as a cube that I sculpted into shape using masks with the Transpose tool and DynaMesh to increase details in areas.

I created the lance using the same method and added a strap using an insert mesh with Curve mode. Additionally I created an alternative version of the cape attached to the back and a sleeve attached to the shoulder.

The character was then posed using the Transpose tools. I settled on quite a simple pose that made the character look confident and determined. I then decided a full-length cape looked more dramatic and also added wrist and arm bands. The lance was swapped for a battle standard ? the idea was that it would display a holographic flag or logo.

創(chuàng)造配件和擺姿勢

當(dāng)角色完成后，我轉(zhuǎn)移到創(chuàng)造武器和衣服。 最初，我創(chuàng)造了一把劍，在角色的臀部。 劍開始是一個立方體，我使用面具工具和DynaMesh雕塑成形，以增加區(qū)域的細(xì)節(jié)。

我使用相同的方法創(chuàng)建了長矛，并使用帶有曲線模式的插入網(wǎng)格添加了一個表帶。 此外，我創(chuàng)建了一個替代版本的海角連接在背部和一個袖子連接到肩膀。

然后使用“轉(zhuǎn)置”工具提出該角色。 我解決了一個相當(dāng)簡單的姿勢，使角色看起來自信和決心。 然后，我決定一個全長披肩看起來更加戲劇化，并且還添加了手腕和手臂樂隊(duì)。 長矛被交換為戰(zhàn)斗標(biāo)準(zhǔn)？ 它的想法是它會顯示全息標(biāo)志或標(biāo)志。

Creating the base

After finishing the pose and accessories I needed to create an environment to help tell a story. The aim was to create a small section of a war-torn urban battlefield for the character to stand on, triumphantly displaying her standard.

If your aim is to create a character concept or illustration, your final image will have much more impact if it tells a story in some way. You want the viewer to feel like they have caught the scene mid-action or that it is part of a larger story.

The base was created from a cylinder, using Transpose tools to pull out a basic shape and dividing the mesh to smooth it out. The rubble was created from a variety of mesh inserts from ZBrush's library. I laid down a base layer of rocks and bent sheets of metal, and then I inserted several pieces of mechanical debris and moved them in to place to create a visually appealing flow to complement the pose of the character.

創(chuàng)建基地

完成姿勢和配件后，我需要創(chuàng)建一個環(huán)境來幫助講故事。 目的是創(chuàng)造一個戰(zhàn)爭蹂躪的城市戰(zhàn)場的一小部分，讓角色站穩(wěn)腳跟，表現(xiàn)出她的標(biāo)準(zhǔn)。

如果您的目標(biāo)是創(chuàng)建一個角色概念或插圖，如果以某種方式講述故事，您的最終形象會產(chǎn)生更多的影響。 您希望觀眾感覺到他們已經(jīng)抓住了現(xiàn)場的中間動作，或者它是更大故事的一部分。

基座由圓柱體制成，使用移調(diào)工具拉出基本形狀并分割網(wǎng)格以使其平滑。 瓦礫是從ZBrush的圖書館的各種網(wǎng)格插入創(chuàng)建的。 我放下一層巖石和彎曲的金屬片，然后我插入了幾塊機(jī)械碎片，并將它們移動到位置，以形成一個視覺吸引人的流動，以補(bǔ)充人物的姿態(tài)。

Lighting and rendering in ZBrush

Initially I kept the default light on and changed the resolution of the BPR shadow to 8000 to sharpen the shadows. The focus for the first render was details and edges. To do this I set the Material for the whole model to dj_zsketchsunup, which is available from the Pixologic download center. The default settings for this material looked too strong, so I turned down the Cavity Detection to 0.25 which created a smoother look.

After saving the render I changed the material to BasicMaterial, turned off the default light and loaded a LightCap file consisting of lights with different intensities and angles. This render simulated global illumination, giving a soft overall shade to the model.

TIP: When using LightCap lighting in your scene, be sure to switch your material to one of the standard materials such as BasicMaterial. MatCap materials won't render properly with a LightCap because MatCap materials have their own lighting baked in to them. Also, turn off the default light under the Light menu before rendering.

For this render I also turned on AO (ambient occlusion), set the Resolution to 8000 and the Blur to 2. I then saved the render, AO and mask layers.

I repeated the step from several different camera angles and distances in order to have options for the final image.

照明和在ZBrush渲染

最初，我保持默認(rèn)燈亮，并將BPR影子的分辨率更改為8000以銳化陰影。第一個渲染的焦點(diǎn)是細(xì)節(jié)和邊緣。為此，我將整個模型的材質(zhì)設(shè)置為dj_zsketchsunup，可從Pixologic下載中心獲取。這種材料的默認(rèn)設(shè)置看起來太強(qiáng)了，所以我把腔體檢測降到了0.25，從而創(chuàng)造出更光滑的外觀。

保存渲染后，我將材質(zhì)更改為BasicMaterial，關(guān)閉默認(rèn)指示燈，并加載由不同強(qiáng)度和角度的燈組成的LightCap文件。這渲染了模擬的全局照明，給模型帶來了柔和的整體色調(diào)。

提示：在場景中使用LightCap照明時，請確保將材料切換到基本材質(zhì)之類的標(biāo)準(zhǔn)材質(zhì)之一。由于MatCap材料有自己的照明烘烤，MatCap材質(zhì)將無法正確使用LightCap。此外，在渲染之前關(guān)閉“燈”菜單下的默認(rèn)指示燈。

對于此渲染，我還打開AO（環(huán)境遮擋），將分辨率設(shè)置為8000，將模糊設(shè)置為2.然后保存渲染，AO和蒙版圖層。

我從幾個不同的相機(jī)角度和距離重復(fù)了一步，以便為最終圖像選擇。

Compositing the renders in Photoshop

Next I brought the renders into Photoshop, starting with the LightCap render. Then I added the AO layer and set the blend mode to Pin Light at 50% which smoothed out the sharp shadows. The detail/edges layer was then added and I set its mode to Screen ? this added highlights and a bit of rim lighting. I duplicated the AO layer on top and set its mode to multiply 50% which darkened the shadows. Finally, I created a simple gradient background for each shot, applied a noise filter and assembled them onto a larger canvas.

在Photoshop中合成

接下來，我將渲染帶到Photoshop中，從LightCap渲染開始。 然后我添加了AO層，并將混合模式設(shè)置為50％的Pin Light，從而平滑了陰影。 然后添加細(xì)節(jié)/邊緣圖層，我將其模式設(shè)置為屏幕？ 這增加了亮點(diǎn)和一點(diǎn)邊緣照明。 我將AO層復(fù)制在頂部，并將其模式設(shè)置為乘以50％，使陰影變暗。 最后，我為每個鏡頭創(chuàng)建了一個簡單的漸變背景，應(yīng)用了一個噪音過濾器，并將它們組裝到更大的畫布上。