制作“熔巖怪物”

我的朋友吉列爾莫拉米雷斯做了這么酷的人物設(shè)計，有一天他告訴我，他想在桌面上有這個有趣的角色，當(dāng)然我也想！ 當(dāng)我制作3D版本時，看起來很有趣，我決定用它制作一個圖像。 在原始設(shè)計中，角色沒有很多困難的細(xì)節(jié)，所以我使用簡單的過程，使一切盡可能簡單。 我喜歡這樣的項目; 我通常做更精細(xì)的項目，但做一些簡單而漂亮的事情也是一樣有趣和令人興奮的。

My friend Guillermo Ramirez made this cool character design, and one day he told me that he would like to have this funny character on his desktop, and certainly me too, of course! When I made the 3D version it seemed so funny that I decided to make an image with it. In the original design the character does not have many difficult details, so I have used simple processes to make everything as simple as possible. I love this kind of project; I usually do more elaborate projects but doing something simple and pretty is just as fun and exciting.

Step 1: Choosing the design

Beginning with a good design is the most important thing. You can have awesome sculpting skills but if the design is bad the final result could be bad as well. I always choose concepts with common things, a clear silhouette and a good style (to me) and with a history behind it. For my image "Lava Monster" this step was very easy, my friend Guillermo Ramirez is a great character designer and when I saw this design in his portfolio it was like "Here you are, just what I'm looking for!"

步驟1：選擇設(shè)計

最好的設(shè)計是最重要的。 你可以有很棒的雕刻技巧，但如果設(shè)計不好，最終的結(jié)果也可能是壞的。 我總是選擇具有共同點的概念，一個清晰的剪影和一個很好的風(fēng)格（對我來說），背后有一個歷史。 對于我的形象“熔巖怪物”這一步很容易，我的朋友吉列爾莫拉米雷斯是一個偉大的人物設(shè)計師，當(dāng)我看到這個設(shè)計在他的投資組合，正是我正在尋找！

Step 2: Creating the base

It's important to work from the beginning with the correct proportions and general volumes. To create the base I use the concept as a background in ZBrush and then I use simple objects like spheres or similar to find the principal shape. At this point it is important to achieve the same point of view, therefore, the 3D model and the concept should be in the same position and orientation. When I have my base in the same position in ZBrush, I always save the view using Texture/Image plane to keep the same view during all the process.

步驟2：創(chuàng)建基地

從一開始就以正確的比例和一般的體積工作很重要。 為了創(chuàng)建基礎(chǔ)，我將這個概念作為ZBrush的背景，然后我使用像球體或類似的簡單對象來查找主體形狀。 在這一點上，重要的是要達(dá)到同樣的觀點，因此，3D模型和概念應(yīng)該處于相同的位置和方向。 當(dāng)我在ZBrush中的基座處于相同的位置時，我總是使用紋理/圖像平面保存視圖，以便在所有過程中保持相同的視圖。

Step 3: Adding details

Before adding details you need to study a bit how you want the final version, (more realistic, more cartoon, maybe a mix), you can use photo references, videos, concepts, and so on. For this character I had several drawings in different poses and expressions; this is great to understand better how the model is.

In ZBrush it is easy to add details, but you need to be organized using several SubTools to work each element by separating and merging only for the end process, using extract from masks to create things like the craters and little rocks on his back, and use the layers.

步驟3：添加細(xì)節(jié)

在添加詳細(xì)信息之前，您需要學(xué)習(xí)一下您想要的最終版本（更實際，更多的動畫片，也許是混合），您可以使用照片參考，視頻，概念等。 對于這個角色，我有不同姿勢和表達(dá)的幾幅畫; 這是很好的了解更好的模型是如何。

在ZBrush中，很容易添加細(xì)節(jié)，但是您需要使用多個SubTools來組織每個元素，以便通過分離和合并來完成最終的過程，使用掩碼的提取來創(chuàng)建像背面的隕石坑和小巖石等東西，以及 使用層。

Step 4: Texturing

I created the textures directly in ZBrush with Polypaint. This process is very similar to painting a miniature. In this step the most important thing is to find a good color base, using the concept this is easy. Step by step, I started with flat colors using the standard brush, then with the same brush but changing the mask from dots to spray you can add a color variation, (this effect is more organic) and then you can simulate the lights and shadows. The last step in this image was adding effects like dust and lava glow effect.

步驟4：紋理化

我使用Polypaint直接在ZBrush中創(chuàng)建了紋理。 這個過程非常類似于繪制一個縮影。 在這一步中，最重要的是找到一個很好的色彩基礎(chǔ)，使用這個概念很容易。 一步一步地，我使用標(biāo)準(zhǔn)畫筆開始使用平面顏色，然后使用相同的畫筆，但將面具從點改變?yōu)閲娡�，您可以添加顏色變化，（此效果更有機(jī)），然后可以模擬燈光和陰影。 這個圖像的最后一步是添加如灰塵和熔巖發(fā)光效果的效果。

Step 5: Shading

I worked with a few materials for this scene: Skinshade for the skin (with a bit of wax effect, 40 %), basic material for the floor, toy plastic and reflection map for the eyes and teeth. At the end I used a Matcap with the Wax strength to 100 for the lava. At the same time I used several materials more applied to the full model to use in the composition process. The eyes have two geometries, one with the eye color (with Skinshade) and the other with reflections (with the Opacity at 30%).

步驟5：陰影

我為這個場景做了幾件材料：皮膚的皮膚（有一點蠟效果，40％），地板的基本材料，玩具塑料和眼睛和牙齒的反射圖。 最后我使用了一個具有蠟強(qiáng)度的Matcap來達(dá)到熔巖。 同時，我使用了幾種材料，更多地應(yīng)用于完整的模型，以用于組合過程。 眼睛有兩個幾何形狀，一個具有眼睛顏色（與Skinshade），另一個具有反射（不透明度為30％）。

Step 6: Lighting

In this case the lava is the most important lighting point, so for this part of the process I used a soft principal light to create the first volumes. I created an orange/red ambience, and other more intense lights like the lava (perfect to draw a little contour at the front). Then I created other lights to improve the ambience effect, and one more for the back to see the shape better. This is one of the most typical compositions, with orange light on one side and blue on the opposite (this always works).

步驟6：照明

在這種情況下，熔巖是最重要的照明點，所以在這部分過程中，我使用柔和的主光來創(chuàng)建第一卷。 我創(chuàng)造了一個橙色/紅色的氛圍，還有其他更強(qiáng)烈的燈光像熔巖（完美的在前面畫一個小輪廓）。 然后我創(chuàng)建了其他燈光來改善氛圍效果，另外還有一個是為了更好地看到形狀。 這是最典型的作品之一，一面是橙色的光，而在對面是藍(lán)色（這總是奏效的）。

Step 7: Render passes

I exported several maps like BPR Color, Flatten Color, Depth, Ambient Occlusion, and so on. I made the character to create a 3D print, but finally I decided to do this as an image too. I normally apply one material to each object but to do that fast I applied all those materials to all objects in the scene. It's a bit strange because you have renders with everything with the same material, but in Photoshop you can create a mask to apply an effect where you need it, and at the same time choose different opacities for each part.

步驟7：渲染通行證

我導(dǎo)出了幾個地圖，如BPR顏色，平鋪顏色，深度，環(huán)境遮擋等。 我使角色創(chuàng)建了一個3D打印，但最后我決定做一個形象。 我通常在每個對象上應(yīng)用一種材料，但是要快速地將這些材料應(yīng)用到場景中的所有對象。 這有點奇怪，因為您使用相同的素材渲染所有內(nèi)容，但在Photoshop中，您可以創(chuàng)建一個蒙版來應(yīng)用需要的效果，同時為每個部分選擇不同的不透明度。

Step 8: Photoshop composition

Until now all the render passes were separate and not good enough. I started with the base color renders and then I used the shadow pass in Multiply to add the shadows. After that, I added several lighting passes to add volume to the model (sometimes it is good to try and change the lighting color, maybe you can find a better effect). Using others lighting passes, you can add a rim light to show the silhouette better. In this case I used a red light on the front (lava lighting) and blue for his back (moonlight).

步驟8：Photoshop構(gòu)圖

到目前為止，所有的渲染過程都是分開的，不夠好。 我從基色渲染開始，然后在“乘法”中使用陰影傳遞來添加陰影。 之后，我添加了幾個照明通行證來添加音量到模型（有時它是好的嘗試和改變照明的顏色，也許你可以找到更好的效果）。 使用其他燈光通道，您可以添加一個邊框燈，以更好地顯示輪廓。 在這種情況下，我在前面使用了一個紅燈（熔巖燈），藍(lán)色為他的背部（月光）。

Step 9: Final image

Sometimes several passes is needed to achieve a great result, but I used some effects to improve the final result. I used the Depth map to create some depth in the scene, then I added a bit of chromatic aberration in some points of the image. To wrap it up, the last touch was to add a bit of High Pass filter to refine some areas.

步驟9：最終形象

有時需要幾次通過才能取得很好的效果，但是我用了一些效果來改善最終結(jié)果。 我使用深度圖在場景中創(chuàng)造了一些深度，然后在圖像的某些點添加了一點色差。 要包裝起來，最后一點是添加一些高通濾波器來改進(jìn)一些區(qū)域。