制作“稻草人”

  角色藝術家加布里埃爾佩雷拉（Gabriel Pereira）向我們展示了他是如何使用ZBrush和Photoshop創(chuàng)作他的藝術作品“稻草人”的。

Character artist Gabriel Pereira shows us how he created his artwork 'Scarecrow', using ZBrush and Photoshop

我想做一個卡通模型，所以我跟我的好朋友和概念藝術家Giardina一起探討， 他提出了這個驚人的想法，如果他能幫我一個2D的草圖。

I wanted to do a cartoon model, so I talked to my great friend and concept artist聽Well Giardina聽if he could help me with a 2D concept. He delivered this amazing concept.

在那之后，我開始研究許多稻草人的參考資料，這樣我就可以改進主要的想法，并在我創(chuàng)建3D的時候盡可能地完善它。尋找好的參考是很重要的，即使你有自己的想法。

After that, I started to look at a lot of scarecrow references so I could improve the main idea and push it as far as possible when I created it in 3D. It is always important to look for good references, even if you have a concept to follow.

我開始在ZBrush中快速的做一個草圖，所以我可以研究它的主要形狀和體積。 DynaMesh是ZBrush的一大特色。 它很容易使用，而且很好用。 你只需要注意你正在使用的工具的大小，以便在雕刻時獲得正確的分辨率，但總的來說，它是一個很棒的工具。

I started by doing a quick sketch in ZBrush, so I could study its main shapes and volumes. DynaMesh is a great feature in ZBrush. It is very easy to use it and it is great to work with. You only need to pay attention to the size of the tool you are working with to get the right resolution as you work on the sculpt, but all in all it is a fantastic tool.

我在這里使用的刷子是:移動，粘土管，粘土增強，平滑和修剪動態(tài)刷。

The brushes that I used here were: Move, Clay Tubes, Clay Buildup, Dam Standard, Smooth and Trim Dynamic brushes.

在定義了主要形狀后，我通常會在模型上快速繪制一遍，以獲得它的調色板的初始感覺。我不創(chuàng)造任何花哨或過于復雜的東西，只用純色。我發(fā)現(xiàn)這個階段很重要，因為當我開始感覺到它將會是什么樣子的時候，想象一下我可以在不同的表面上應用哪種紋理。隨著這些想法的形成，我可以向任何我想要的方向移動任何圖像。

With the main shapes defined, I usually do a quick paint over the model to get the initial feeling of its color palette. I don't create anything fancy or too complex, just use solid block color. I find this stage important because this is when I start to feel how it is going to be, and imagine which textures I could apply on various surfaces. With these ideas forming, I can move any image in the direction I want.

然后我開始清理網(wǎng)格，這樣我就可以把細節(jié)放在上面，最后定稿。為了做到這一點，我在ZBrush中使用了2種方法。

Then I started to clean up the meshes, so later I could put details on it and finalize the piece. To achieve this clean up, I use 2 approaches in ZBrush.

第一個是傳統(tǒng)的重新定位模型的方法。我在我的子工具面板和屬性編輯拓撲中添加了一個ZSphere，然后根據(jù)草圖創(chuàng)建了一個新的網(wǎng)格。我用這種方法來做帽子、鞋子和臉部的縫線。

The first one is the traditional way of re-topologizing the model. I added a ZSphere in my SubTool palette and with the property Edit Topology, and then created a new mesh based on the sketch. I used this approach to do the hat, shoes and the stitches of the face.

第二種方法是在ZBrush中實現(xiàn)重新拓撲的一種新方法，涉及到QRemesher工具�；�本上你創(chuàng)建了一些模型，告訴程序新mesh會有多少個polys，瞧!你有了新的網(wǎng)格。

The second approach is a new way to do re-topology in ZBrush, involving the QRemesher tool. Basically you create some guides, inform the program how many polys the new mesh will have and voila! You have the new mesh.

如果你想要把草圖的細節(jié)轉移出來;復制新的拓撲結構，使用QRemesher工具進行復制，然后使用投影工具來傳輸原始的細節(jié)。頭部、西裝和褲子都是用這種方法創(chuàng)造的。

If you want to then transfer the details of the sketch; duplicate the mesh that will have the new topology, use the QRemesher tool on the duplicated one and then use the Projection tool to transfer the details of the original one. The head, suit and the pants were created with this approach.

當?shù)静萑说牟糠直磺謇砀蓛艉�，我開始為模型的每個部分創(chuàng)建所有細節(jié)，并對其進行細化。

After all the parts of the scarecrow were cleaned up, the fun began! I set about creating all the details for each part of the model and refining it.

這些額外的網(wǎng)格，比如頭發(fā)、手工草和尾巴，都是用彎曲的方形筆刷做成的。我在ZBrush頻道的網(wǎng)站上找到了帽子里的繩子。

The extra meshes like hair, hand-straw and suit-tail were made with the CurveQuadFill brush. For the rope in the hat I used an InsertMultiMesh that I found on the ZBrush channel website.

我在這個階段使用的刷子是移動，粘土，粘土管，平滑，修剪動態(tài)和拋光刷。

The brushes that I used here in this stage were Move, Clay, Clay Tubes, Dam Standard, Smooth, Standard, Trim Dynamic and Polish brushes.

為了塑造衣服上的小褶皺，我使用了具有“重力”屬性的“Dam Standard”和“ Standard ”刷子，值約為30左右。 這個屬性給了我的形象一個重量感，并且完美地幫助我在布料上獲得更好的效果。 重力屬性在深度的刷子菜單上。

To sculpt the little folds on the suit I used the Dam Standard and Standard brushes with the property Gravity, with the value around 30 or so. This property gave a sense of weight to my image and was perfect to help me achieve better results for draping the fabric. The gravity property is on the brush menu under depth.

在衣服上做褶皺和紋理的另一個重要技巧是使用圖層。我用一層來做褶皺和另一層來雕刻圖案的紋理。我創(chuàng)建了一些基本的UV來雕刻衣服的紋理。

Another important tip for doing folds and texture on clothes is to use layers. I used one layer to do the folds and another layer to sculpt the texture of the pattern. I created some basic UVs to sculpt the clothing texture.

ZBrush有一個叫做UV Master的工具，很容易使用。例如，在suit中，我創(chuàng)建了兩個polygroups ，一個是為了樹葉，另一個是為了身體，畫了一條線來當作裁剪線，并在西裝上創(chuàng)造了一些UV。

There is a tool in ZBrush called UV Master, which is very easy to use. For example, in the suit, I created two polygroups ? one for the leaves and another for the body ? painted a line to attract the cut line and created some UVs on the suit.

然后我創(chuàng)建了圖案造型的圖層。 最后，我使用位于表面調色板中的“噪點”修改器來應用我想要雕刻的圖案。

Then I created the layer for the pattern sculpt. Finally I used the Noise modifier located in the surface palette to apply the pattern I wanted to sculpt.

這張臉的圖案是在畫完第一個顏色后雕刻出來的。我再次使用UV Master在臉上創(chuàng)建了一些UV。然后，在聚光燈和布料圖案的基礎上，我用聚光燈和布料圖案對他的臉進行了多色涂抹，并將其作為紋理輸出。

The pattern of the face was sculpted after painting the first pass of color. I used the UV Master again to create some UVs on the face. Then, with spotlight and a cloth pattern I polypainted his face and exported this painting as a texture.

在Photoshop中，我將這個紋理轉換成灰度并保存了一個副本。

In Photoshop, I converted this texture to grayscale and saved a copy.

我把灰度紋理轉移到了臉部的彩色圖像上，然后用一個叫做Mask by Intensity的遮罩屬性，我根據(jù)我繪制的紋理創(chuàng)建了一個遮罩。 最后，使用具有非常小的值的變形（inflate），我在網(wǎng)格上雕刻圖案細節(jié)。 之后，我把顏色的紋理傳回到臉部。

I transferred the grayscale texture to the polypaint of the face, then with a masking property called Mask by Intensity, I created a mask based on the texture I painted. Finally, using Inflate (under deformation) with very small values, I sculpted the pattern details on the mesh. After that, I transferred the color texture back to the face.

 當我用聚光燈繪制原始紋理時，我可以轉動Zadd，同時進行繪畫和雕刻，但是我發(fā)現(xiàn)這個過程更適合控制我在網(wǎng)格上的變形。

I could have turned the Zadd on when I was painting the original texture with spotlight, to paint and sculpt at the same time, but I found this process more suitable to control how much deformation I put on the mesh instead.

在完成所有細節(jié)之后，我完成了臉部的繪畫并使用基本的彩色涂抹技術繪制了模型的其余部分。 之后，模型完成。 所以現(xiàn)在是時候開始擺姿勢了，給它最后的潤色。

After all the details were done, I finalized the painting of the face and painted the rest of the model using basic polypaint techniques. After this, the model was finished. So it was time to start posing it and give it the final touches.

為此，我在ZBrush、屏蔽、轉置和移動畫筆中使用了轉置主插件。

To do this, I used the Transpose Master plug-in in ZBrush, Masking, Transpose and the Move brush.

在我完成它的姿勢之后，我在ZBrush中創(chuàng)建了一些燈來準備最后的效果圖。我通常會在ZBrush中渲染一些不同的通道，這樣我就可以把它們合成到Photoshop中來得到最后的部分。這是我為稻草人創(chuàng)造的通道。

After I finished its pose, I created some lights in ZBrush to prepare the final piece for rendering. I usually render some different passes in ZBrush so I can composite them in Photoshop to get the final piece. Here are the passes I created for the scarecrow.

我做這個個人項目有很多樂趣，因為我在ZBrush中做一個完整的模型已經(jīng)有一段時間了。我發(fā)現(xiàn)ZBrush是一款很棒的軟件，如果你想創(chuàng)建任何類型的靜態(tài)圖片，它是非常全面的。

I had a lot a fun doing this personal project as I have wanted to do a model entirely in ZBrush for quite some time. I find ZBrush is an amazing piece of software and is very comprehensive if you want to create any kind of static image.