外星隊長的制作（一）

這個卡通人物是基于一個復(fù)古的科幻概念。 我想用3D藝術(shù)展現(xiàn)一個具有強烈姿態(tài)，表情和輪廓的角色。 我的目標是用開源軟件Blender以3D方式完成這個過程。 在Blender中，您可以配置快捷鍵和界面布局以匹配流程的任何階段。 我所做的第一件事就是為我需要的任務(wù)準備我的工具，并以一個名稱保存布局。

This cartoon character was based on a retro sci-fi idea. I wanted to show a character with strong pose, expression and silhouette with 3D art. My goal was to complete the process in 3D with the open source software Blender. In Blender you can configure your shortcut keys and the interface layout to match any stage of the process. What I did first was to prepare my tools for the task I needed and save the layout with a name.

(3D角色創(chuàng)建方法并不依賴于軟件。這樣你就可以用你最喜歡的工具進行制作。

(The 3D character creation method doesn't depend on the software. So you will be able to reproduce the same with your favorite tool).

參考和概念

 References and Concept

如果你在角色設(shè)計方面沒有很好的參考和良好的基礎(chǔ)，你將無法獲得吸引人的3D角色。 在3D中工作需要很長時間，您會忘記在此過程中重要的元素。 定義2D概念藝術(shù)設(shè)計非常重要。 在這種情況下，我收集了一大堆來自互聯(lián)網(wǎng)的參考資料，并且還有一個我喜歡的女性外星人概念（圖01a）。 有時我也會快速的做一個3D造型概念，如圖01b所示。

You will not achieve an appealing 3D character if you don't have good references with good bases in character design. Working in 3D takes a long time and you will forget elements that are key points during the process. It's very important to define your 2D concept art design. In this case I collected a bunch of references from the internet and also had a female alien concept that I liked (Fig.01a). Sometimes I'll do a quick 3D sculpt concept too, like the one shown in Fig.01b.

圖 01a

圖 01b

提示:在開始建模之前，請給出一個好的2D角色設(shè)計。草圖總是比數(shù)字雕塑更快更容易改變。這樣會少很多麻煩。

Tip:Come up with a good 2D character design before you start modeling. Sketches are always faster and easier to change than digital sculptures. It will be a lot less painful.

建模

Modeling

我首先對人物的數(shù)量進行建模。就像我經(jīng)常做的那樣，我從頭部開始，并使用簡單的多邊形物體，比如盒子。然后我將盒子分為垂直和水平邊緣。在Blender中，我使用了這個選項，用方框(3ds Max中的球化)，刪除了盒子的一側(cè)，并添加了一個鏡像修飾符(3ds Max中的對稱)(圖02)。

I started by modeling the volume of the character. As I often do, I started with the head, and used simple polygon objects like a box. Then I divided the box with vertical and horizontal edges. In Blender I used the option To Sphere with the box (Spherify in 3ds Max), erased one side of my box and added a mirror modifier (Symmetry in 3ds Max) (Fig.02).

圖 02

提示:在網(wǎng)格中，選擇要影響編輯模式的元素(頂點、邊或面)，按Shift + Alt + S，將鼠標拖出。

Tip:To sphere a mesh, select the elements (vertex, edges or faces) you want to affect in Edit mode, press Shift + Alt + S and drag your mouse out.

在這一點上，我沒有注意細節(jié)，只是試著確定了主要的形狀。我繼續(xù)使用幾何圖形，增加了更多的邊緣循環(huán)，并推動了頂點和邊緣，直到我對整個身體形狀和比例感到滿意為止。當涉及到角色設(shè)計時，對比形狀是非常重要的。我牢記這一點，并尋找良好的拓撲結(jié)構(gòu)(圖03 - 04)。

At this point, I didn't pay attention to details and just tried to define the main shape well. I continued with the geometry, adding more edge loops and pushing the vertexes and edges until I was happy with the entire body shape and the proportions. Having contrasting shapes is very important when it comes to character designer. I kept this in mind and also looked for good topology (Fig.03 - 04).

圖03

圖 04

提示:可以用于動畫的拓撲也可以用來使您的角色更簡單。

Tip:The topology that can be used for animation can also be used to pose your character in a easier way.

繼續(xù)說臉部的細節(jié)。我添加了邊緣或擠壓多邊形來定義關(guān)鍵區(qū)域:嘴巴，眼睛，鼻子和耳朵。我添加了一個細分表面修飾詞來測試這些元素的高分辨率。當我對多邊形的基本網(wǎng)格(圖05)感到滿意時，我使用了帶有多分辨率修改器的雕刻工具。

I continued with the face details. I added edges or extruded polygons to define the key areas: mouth, eyes, nose and ears. I added a subdivision surface modifier to test these elements in high resolution. I used the Sculpt tool with the Multi Resolution modifier when I was happy with the polygon's base mesh (Fig.05).

圖 05

提示:隱藏你不使用的幾何圖形。你的軟件在視窗中會更流暢。

Tip:Hide geometry you aren't working with. Your software will flow better in the viewport.

光與影

Light and Shadow

我做了一個簡單的輕型鉆機來測試我的模型。我使用了一個更精確的燈光設(shè)置來開始使用材料。實現(xiàn)良好的照明是非常重要的。你所有關(guān)于最終圖像的工作將取決于這個。

I did a first simple light rig to test my model aspect. I went with a more accurate light setup to start working with materials. It's very important to achieve a good light set up. All your work on the final image will depend on this.

在這種情況下，我用Blender的內(nèi)部渲染器渲染了場景。我用五個燈。燈光的數(shù)量將取決于你的場景。乍一看可能有點復(fù)雜，但用輕型鉆機控制是非常有用的。這里有我的燈:

In this case I rendered the scene with Blender's internal renderer. I used five lights. The number of lights will depend on your scene. Maybe it seems a little complicated at first glance, but it's very useful to have the control with a light rig. Here are my lights:

1。太陽的光作為一種關(guān)鍵的光，帶有黃色。

2。一種橙色的半光燈，作為一種來自太陽的填充光。

3所示。藍色的半光作為環(huán)境光。

4所示。在raygun中，閃電的藍色點燈。

5。一個區(qū)域的光可以從地面的巖石反射出反射的光的顏色。

1. A Sun light as a key light, with a yellow color

2. An orange hemi light as a fill light from the Sun

3. A blue hemi light as environment light

4. A blue point light for the lightning in the raygun

5. An area light to fake the bounced light color from the ground rock to the character.

在光屬性中，你可以選擇這一層只影響光層中的物體。我用它把眼睛從一個光中排除(圖06)。

In the light properties you can select This Layer Only to affect only objects in the light layer. I used this to exclude the eyes from one light (Fig.06).

圖06

提示:在陰影中顏色使用與世界環(huán)境顏色相同。它將幫助你建立一個可信的燈光設(shè)置。

Tip:In the shadows color use the same as in the ambient color of the world. It will help you to make a believable light setup.

材料

Materials

創(chuàng)建材料的方式取決于軟件，但目標總是相同的。你必須用光再現(xiàn)物體的行為。關(guān)鍵詞是吸收、反射和折射。在任何軟件中也有通用的技術(shù)。如果你想要獲得大量不同的材料，這些技術(shù)是非常有用的。在現(xiàn)實生活中，大多數(shù)物體都是由多種材料構(gòu)成的。有幾層灰塵、銹跡等。

The way you create your materials depends on the software, but the goal is always the same. You've got to reproduce the behavior of objects with light. The key words are absorption, reflection and refraction. There are also common techniques in any software. These techniques are very useful if you want to achieve a lot of different variations of materials. In real life most objects are made of more than one material. There are several layers of dust, rust etc.

材料編輯器非常強大，結(jié)合了光的設(shè)置和組成在CG。我在材料中使用了大量的衰減斜坡來控制表面如何與光線發(fā)生反應(yīng)。我使用一種顏色的鏡面反射，與主光顏色相匹配，以及在與環(huán)境顏色匹配的雙保險絲或鏡面上脫落的顏色。這樣做會讓場景更加可信。你會看到我說的關(guān)于射線槍和眼睛的材料。材料的混合節(jié)點合成物是非常有用的，它提供了你可以想象的所有組合。

The Material Editor is very powerful when combined with light setup and composition in CG. I use a lot of falloff ramps in the materials to control how the surface reacts with the light set up. I use a color for the specular reflection that matches with the main light color, and colors in fall off ramps on difuse or specular that match with the environment color. Doing this makes the scene more believable. You will see what I mean on the materials for the raygun and the eyes. The Blender node compositor for materials is very helpful and gives all the combinations you can imagine.

小貼士:對于角色來說，眼睛是非常重要的。一個漂亮的著色器會有很大幫助!在圖07中可以看到一個這樣的例子。

Tip:With characters, the eyes are very important. It's the first place a viewer will look so be careful to work hard on this area. A nice shader will help a lot! An example of this can be seen in Fig.07.

圖 07