卡通女孩的制作

選擇一個(gè)概念

選擇正確的設(shè)計(jì)是最重要的步驟之一。 如果你正在尋找一個(gè)投資組合，那么你可能會(huì)花幾個(gè)星期的時(shí)間來(lái)處理這個(gè)問(wèn)題，所以要把它做好。 想想這個(gè)項(xiàng)目的目標(biāo)是什么。

作為一個(gè)吸引人的角色的重要一點(diǎn)，就是在角色背后有一個(gè)故事，即使它只是一個(gè)沒(méi)有劇情的靜止圖像，你仍然應(yīng)該能夠辨別出這個(gè)角色是誰(shuí)。

Choosing a concept

Picking the right design is one of the most important steps. If you are aiming for a portfolio piece, then you will probably spend a few weeks working on it, so make it relevant. Think about what the goal of the project is.

A big point for making an appealing character, is having a story behind the character, even if it's just a still image with no scenario, you still should be able to tell who this character is.

分析概念

首先將繪圖分解成幾部分，計(jì)劃如何處理模型。在創(chuàng)作這個(gè)角色的時(shí)候，要注意那些剪影、負(fù)空間以及2D藝術(shù)家們所做的所有設(shè)計(jì)選擇，這是許多3D藝術(shù)家非常忽視或者甚至是未知的事情 - 稍后會(huì)有更多的介紹。

Analyzing the concept

Start by breaking down the drawing into pieces, planning how you will handle the model. And pay a lot of attention to the silhouette, negative spaces and all the design choices that the 2D artist made when creating the character, this is something very overlooked or even unknown by many 3D artists - more on this later.

阻塞模型

在雕刻時(shí)，ZBrush是我雕刻的首選工具，但是你可以使用任何像Blender或3d - coat的雕刻軟件。在第一個(gè)階段，你應(yīng)該得到每個(gè)肢體的基本形式，并建立比例，保持簡(jiǎn)單和清潔。沒(méi)有細(xì)節(jié)，這只是你以后要把角色劃分出來(lái)的基礎(chǔ)。我通常只用圓球和圓筒開(kāi)始。

Blocking the model

ZBrush is my tool of choice when sculpting, but you can use any sculpting software like Blender or 3D-Coat. On this first stage, you should just get some basic forms for each limb and establish the proportions, keep it simple and clean. No details, it's just the base where you will carve the character out later on. I usually start just with spheres and cylinders.

雕刻形式

準(zhǔn)備好了，現(xiàn)在是開(kāi)始展示的時(shí)候了。這幅圖只會(huì)給你提供足夠的信息，以供總體設(shè)計(jì);這是你作為一個(gè)3D藝術(shù)家的工作，讓它從各個(gè)角度看起來(lái)都很棒。對(duì)我來(lái)說(shuō)，雕刻家最重要的技能就是理解形式。如果以手臂為例，從正面來(lái)看它的外觀如何？ 然后回來(lái)？從側(cè)面？ 從上面？ 想象一下，如果你觸摸它，它會(huì)感覺(jué)像一只手臂或什么東西都被揉皺了嗎?獲得一些參考，并一直保持模型旋轉(zhuǎn)。

Carving the forms

Base prepared, now it's time for the concept to start showing through. The drawing will only give you enough information for the general design; it's your job as a 3D artist to make it look great from all angles. For me, the most important skill for a sculptor is understanding the form. If you take an arm as example, how it looks from front view? And back? And side? And from above? Imagine if you touch it, does it feel like an arm or something all crumpled? Get some reference and keep rotating the model all the time.

檢查設(shè)計(jì)

講故事是吸引角色的第一步，其次是用形式來(lái)引導(dǎo)觀眾的眼睛。 曲線，直道，消極空間，剪影，簡(jiǎn)單與復(fù)雜都是概念藝術(shù)家用來(lái)制作有趣和諧設(shè)計(jì)的設(shè)計(jì)元素，但被許多3D建模者所忽視。 僅僅匹配比例和色彩是不夠的，概念藝術(shù)家所做的設(shè)計(jì)選擇就是創(chuàng)造一個(gè)美麗的作品，引導(dǎo)觀眾的眼球。 所以一定要把它們轉(zhuǎn)化成模型，不要忘記 - 它必須從各個(gè)角度進(jìn)行!

Checking the design

Storytelling is the first step to an appealing character, the second is to use the forms to guide the viewer's eyes. Curves, straights, negative spaces, silhouettes, simple vs complex, are all design elements used by concept artists to make interesting and harmonious designs, but are neglected by many 3D modelers. Just matching proportions and colors isn't enough, the design choices made by the concept artists is what will create a beautiful composition and guide the eye of the viewer. So be sure to translate them to the model and don't forget - it must work from all angles!

臉部建模

臉是我性格中最重要的部分，它是我想讓觀眾注意的地方。步驟和模型的其他步驟是一樣的，我從頭部和鼻子和耳朵的其他小球體，以及眼瞼的管子開(kāi)始。 調(diào)整好比例之后，我將它們合并，并開(kāi)始塑造形式。 保持臉部元素的協(xié)調(diào)一致是非常重要的。

Modeling the face

The face is the most important part of the character for me, it's where I want to keep the viewer's attention. Steps are the same as for the rest of the model, I start with simple sphere for the head and other small spheres for the nose and ears, and tubes for the eyelids. After I adjust their proportions I merge them and start shaping the forms. It's important to keep the face elements in harmony and working together as a single piece.

頭發(fā)

頭發(fā)就像頭部的框架，也會(huì)改變?nèi)宋锏妮喞�。這是我大部分時(shí)間花在上面的部分。即使這個(gè)角色在最后的作品中會(huì)有真正的頭發(fā)，我還是會(huì)做一個(gè)雕塑的頭發(fā)，這樣我就可以檢查一般模型是否正常工作，并作為梳理毛發(fā)的參考。很好地提出了一個(gè)完整的模型。我開(kāi)始用一個(gè)簡(jiǎn)單的質(zhì)量給的輪廓，然后用Dylan Ekren創(chuàng)作的曲線筆刷，開(kāi)始把頭發(fā)的條紋梳到一起，直到我把頭發(fā)都染滿了。注意頭發(fā)的流動(dòng)是很重要的。

Hair

Hair is like the frame of the head, it also changes the silhouette of the character. It's one of the parts that I spend most time on. Even though this character will have real hair on the final piece, I still do a sculpted hair so I can check if the general model is working and to serve as a reference for the grooming. And it's good to present a complete model. I start with a simple mass to give the silhouette, then using a curve brush created by Dylan Ekren I start putting the hair stripes together until I have all the hair filled. It's important to pay attention to the flow of the hair.

擺姿勢(shì)

大部分的角色性格都會(huì)通過(guò)這個(gè)姿勢(shì)表現(xiàn)出來(lái)。對(duì)于一個(gè)轉(zhuǎn)盤(pán)，我更喜歡一個(gè)微妙的姿態(tài)，它能很好地顯示模型，而不是有很多動(dòng)作的動(dòng)態(tài)。同再次，它應(yīng)該從各個(gè)角度閱讀，避免平行，并留意消極的空間。 因?yàn)槲蚁矚g在Maya里做一個(gè)快速的裝備，這讓我的生活變得更加輕松，尤其是在擺姿勢(shì)的時(shí)候。

Posing

Much of the character personality will show through the pose. For a turntable, I prefer a subtle pose that will display the model well, instead of something dynamic with a lot of action. Again, it should read well from all angles, avoid parallels and keep an eye on the negative spaces. For posing I like to do a quick rig in Maya, it makes my life so much easier, especially when posing the hands.

拋光

脫離模型，用不同的眼睛看，并要求別人的意見(jiàn)。

檢查你的線條，你的表格如何閱讀，如果比例是正確的，從擺姿勢(shì)清除任何變形，拋光表面質(zhì)量（確保沒(méi)有無(wú)意的皺折）。 在這一步，我花了好幾個(gè)小時(shí)，不斷旋轉(zhuǎn)模型，在這里和那里做小修改，直到我認(rèn)為它足夠好。 雕刻完成了！

Polishing

Take a break away from the model, come back with fresh eyes, and ask for someone's opinion.

Check your lines, how your forms are reading, if the proportions are correct, clear any deformation from the posing, polish the surface quality (make sure there is no unintentional crumples). On this step I spent many hours, constantly rotating the model and making small fixes here and there, until I think it is good enough. And the sculpting is done!

頭發(fā)，紋理和最終渲染

Victor Trovarto完成了頭發(fā)，紋理和最后的渲染。

Hair, textures and final render

Victor Trovarto then finished up the piece by completing the hair, textures and the final render.

用Xgen完成頭發(fā)

皮膚是在MARI畫(huà)的，和AIshaders進(jìn)行快速的測(cè)試

衣服和裝飾品也在MARI