ZBrush令人敬畏的角色概念設(shè)計(jì)

Santiago Betancur深入研究了他的一些令人敬畏的角色概念設(shè)計(jì)的工作流，在ZBrush,Keyshot和Photoshop中探索服裝和資產(chǎn)創(chuàng)造……

Santiago Betancur dives into the workflow behind the design of some of his awesome character concepts, exploring costume and asset creation in ZBrush, Keyshot, and Photoshop...

第1步：收集參考

當(dāng)你想創(chuàng)造一些東西的時(shí)候，這是最重要的步驟之一。 我總是試圖獲得現(xiàn)實(shí)生活中的參考資料，這有助于我們通過(guò)解剖學(xué)，紋理，材料分離，服裝，裝甲和道具來(lái)實(shí)現(xiàn)一個(gè)現(xiàn)實(shí)的概念。

Step 1: Gathering references

This is one of the most important steps when you want to create something. I always try to get real life references, this helps a lot to achieve a realistic concept with great anatomy, textures, material separation, costume, armor, and props.

第2步：2D草圖

我不擅長(zhǎng)繪畫(huà)，但在這種情況下，我開(kāi)始用角色的設(shè)計(jì)來(lái)探索，盡可能地去解決設(shè)計(jì)問(wèn)題。 當(dāng)我對(duì)整體外觀感到滿意時(shí)，我進(jìn)入ZBrush，并且做一個(gè)基體網(wǎng)格。 之后，我在Photoshop中修復(fù)它，并繼續(xù)探索設(shè)計(jì)的服裝和一般形狀。

Step 2: 2D sketching

I?m not great at drawing, but in this case I start to explore with the design of the character, trying to solve the design as much as I can. When I?m happy with the overall look I jump in to ZBrush, and I do a base mesh of the body. After that I overpaint it in Photoshop and keep exploring with the costume and general shape of the design.

1.從參考創(chuàng)建的草圖

2.在所選設(shè)計(jì)的兩個(gè)視圖中繪制草圖

3.在3D基礎(chǔ)模型之上重疊以解決服裝更多

1.    Sketches created from the references

2.    Sketch in two views of the chosen design

3.    Overpaint on top of 3D base models to resolve the costume more

第3步:在ZBrush中阻止角色

在對(duì)二維草圖感到滿意后，我再次進(jìn)入ZBrush，開(kāi)始阻止角色的其他部分，增加解剖結(jié)構(gòu)，皮膚紋理等細(xì)節(jié)。 在這個(gè)階段，我解決了在2D部分中沒(méi)有注意到的新問(wèn)題，這是在設(shè)計(jì)過(guò)程中使用3D的優(yōu)勢(shì)之一。

Step 3: Blocking out the character in ZBrush

After I?m happy with the 2D sketches I jump again into ZBrush to start blocking out the rest of the character, adding more details on the anatomy, skin texture and so on. In this stage I resolve new problems that I didn?t notice in the 2D part, this is one of the advantages of using 3D in the design process.

第4步:道具的創(chuàng)造

在這一部分中，我使用了ZBrush,Zmodeler,Dynamesh,Alphas和神奇的live Booleans的多種工具組合，它是這類(lèi)東西的工作流的一個(gè)偉大的游戲規(guī)則改變者。

Step 4: Prop creation

In this part I used a mix of several tools inside ZBrush like, Zmodeler, Dynamesh, Alphas and the amazing live Booleans that it is a great game changer to the workflow for this kind of stuff.

第5步：紋理和最終細(xì)節(jié)

在這個(gè)步驟中，我將一些Polypaint應(yīng)用到角色上，并將最終的細(xì)節(jié)添加到基礎(chǔ)網(wǎng)格中，例如他的裝甲上的剪線，布料上的針跡，綁帶，按鈕等等。

Step 5: Texturing and Final Details

In this step I apply some Polypaint to the character and add the final details to the base mesh, like cut-lines to his armor, stitches on the cloth, straps, buttons, and so on.

第6步：姿勢(shì)

在這個(gè)過(guò)程中，我使用一個(gè)人體模型來(lái)阻擋角色的一些可能的姿勢(shì)。 有時(shí)我把不同姿勢(shì)的元素結(jié)合起來(lái)，我可以得到一個(gè)新的改進(jìn)的姿勢(shì)，我可以使用這個(gè)角色。

Step 6: Posing

In this process I use a mannequin to block out some possible poses for the character. Sometimes I combine some elements from the different poses and I can get a new improved pose that I can use for the character.

第7步:為beauty shot渲染設(shè)置

在這個(gè)步驟中，我將向您展示我在大多數(shù)項(xiàng)目中使用的呈現(xiàn)設(shè)置。我沒(méi)有太多的設(shè)置和類(lèi)似的東西太多，因?yàn)橛辛藰?biāo)準(zhǔn)配置，我就能解決所有問(wèn)題，而且我可以在photoshop中對(duì)其余的渲染進(jìn)行潤(rùn)色。

Step 7: Render settings for the beauty shot

In this step I show you the render settings that I use for most of my projects. I don?t really mess too much with settings and stuff like that because with the standard configurations I get everything resolved and I can polish the rest of the render inside photoshop.

第8步:渲染

在這里，我向您展示了一些我用來(lái)呈現(xiàn)的最常見(jiàn)的渲染傳遞。我也用這個(gè)方法在他的服裝元素上應(yīng)用材料分離，在不同的材料中渲染我需要的區(qū)域，然后我在Photoshop中使用蒙版來(lái)將這些地圖繪制到服裝上?這樣也節(jié)省了很多時(shí)間。

Step 8: Render passes

Here I show you some of the most common render passes that I use for my renders. I also use this method to apply material separation on his costume elements, rendering the regions that I need in different materials, then I use masks in Photoshop to paint this maps onto the costume ? this saves a lot of time too.

第9步：材料繪畫(huà)

在這個(gè)過(guò)程中，我使用了來(lái)自Keyshot不同材質(zhì)的多個(gè)渲染通道，在我需要材質(zhì)的部件上使用區(qū)域渲染。 這種方式要快得多。

Step 9: Material painting

In this process I use several render passes with different materials from Keyshot, using region render on the parts that I need the material. This way is much faster.

第10步：最后的碰觸

這是我的過(guò)程的最后階段。 在我解決了所有問(wèn)題之后，我開(kāi)始為最終的演示文稿添加顏色修正，情緒和一些視覺(jué)效果。 我使用Photoshop的插件Magic Bullet Photolooks，這是一個(gè)強(qiáng)大的工具，用于在圖像上進(jìn)行著色和制作顏色漸變。 我也使用Photoshop中的一些技巧像調(diào)整圖層，在固體層上使用平面顏色的融合模式進(jìn)行探索，等等。

Step 10: Final touches

This is the final stage of my process. After I have everything resolved I start to add color corrections, mood and some visual effects to the images for the final presentation. I use the plugin for Photoshop called Magic Bullet Photolooks, this is a powerful tool for colorizing and making color gradients on your images. I also use some tricks inside Photoshop like adjustment layers, explore with fusion modes using flat colors over a solid layer, and so on.