3D人物插畫(huà)制作

你好！ 我非常感謝有機(jī)會(huì)分享我的3D作品之一。 這個(gè)3D渲染是基于Gop Gap的美妙插圖，！

Hello there! I'm very grateful to have this opportunity to share the making of of one of my 3D pieces. This 3D render is based on the wonderful illustration by Gop Gap called Yummy!

Step 1: Modeling & Sculpting

I poly model and UV the easier props, such as the branch, leaves, bag, feather and sandwich before going to ZBrush. For the character however, I jump straight into ZBrush, as I find it that I am able to easily change shape as I go. I start with basic shapes such as spheres, cylinders and so on.When I block out the character I then start dynameshing, sculpting and up res-ing.

步驟1：建模與雕刻

我的模型和紫外線(xiàn)更容易的道具，如分枝，葉子，袋子，羽毛和三明治，然后去ZBrush。 然而，對(duì)于角色，我直接跳到ZBrush，因?yàn)槲野l(fā)現(xiàn)我能夠輕松地改變形狀，因?yàn)槲胰ァ?我從基本的形狀開(kāi)始，如球體，圓柱體等等。當(dāng)我屏蔽字符時(shí)，我開(kāi)始動(dòng)畫(huà)，雕刻和升級(jí)。

Step 2: UVing

I then bring back the character back to Maya and use Quad draw to retopologize. In Maya, I can also check to see if the model's pose is matching the concept by having the concept projected onto an image plane. I adjust some areas using soft selection.

步驟2：UVing

然后我將角色帶回Maya，并使用四線(xiàn)繪畫(huà)來(lái)重新定位。 在Maya，我還可以通過(guò)將概念投影到圖像平面上來(lái)檢查模型的姿態(tài)是否符合概念。 我使用軟選擇來(lái)調(diào)整某些區(qū)域。

Step 3: Sculpting finer details in ZBrush

For skin, I apply a little bit of noise to create some slight break up using Surface > Noise. For the clothes, I gather some photo references of fabrics and use Photoshop to make the images black and white, and apply a high pass. To do so, it is Filter > Other > High Pass. I usually put the high pass setting to 10. I then apply these maps on ZBrush by using the Surface > Noise and plugging in the height map on the alpha and start adjusting the scale.

步驟3：在ZBrush中雕刻更細(xì)的細(xì)節(jié)

對(duì)于皮膚，我應(yīng)用一點(diǎn)噪音，使用Surface> Noise創(chuàng)造一些輕微的分解。 對(duì)于衣服，我收集一些面料的照片參考，并使用Photoshop使圖像成為黑白，并應(yīng)用高通。 為此，它是過(guò)濾器>其他>高通。 我通常將高通設(shè)置設(shè)置為10 然后，使用Surface> Noise并在alpha上插入高度圖，然后開(kāi)始調(diào)整刻度，將這些地圖應(yīng)用于ZBrush。

Step 4: Texturing

For texturing, I used Substance Painter. I use a combination of photographed textures and hand painted textures, to give the piece a realistic yet painterly look. I like using Substance Painter as I can somewhat see how the texture map will appear when I plug it into the shader. There are times when adjustments will need to be made to the maps, but I usually do so using ramps in Maya.

步驟4：紋理化

對(duì)于紋理，我使用Substance Painter。 我使用拍攝的紋理和手繪紋理的組合，給這件作品一個(gè)現(xiàn)實(shí)但畫(huà)家的外觀(guān)。 我喜歡使用Substance Painter，因?yàn)槲铱梢钥吹疆?dāng)我將其插入著色器時(shí)，紋理貼圖將會(huì)出現(xiàn)。 有時(shí)候需要對(duì)地圖進(jìn)行調(diào)整，但我通常會(huì)在Maya的坡道上進(jìn)行調(diào)整。

Step 5: Look deving

When I have all my texture maps ready, I go back to Maya and plug in the maps. I render using V-Ray. Most of the shader work is done using the VrayMtl and the new AL Shader for V-Ray. For the boy I used VrayFastSSS. I also used V-Ray fur to create fuzz on the clothing of the character.

步驟5：看設(shè)備

當(dāng)我準(zhǔn)備好所有的紋理貼圖時(shí)，我回到Maya并插入地圖。 我用V-Ray渲染。 大多數(shù)著色器的工作都是使用VrayMtl和用于V-Ray的新AL著色器完成的。 對(duì)于男孩我使用的是VrayFastSSS。 我也用V-Ray毛皮在人物的衣服上制作絨毛。

Step 6: Lighting

I mainly used spotlights to light the scene. I had a main spotlight coming in from the left, a strong rim light behind the character to the left and a fill light from the right-hand side. I also used a dome light so there would be reflections on the golden bell.

步驟6：照明

我主要用聚光燈照亮現(xiàn)場(chǎng)。 左邊是一個(gè)主要的聚光燈，左邊是一個(gè)強(qiáng)烈的邊框，右邊是一個(gè)補(bǔ)光燈。 我也用了一個(gè)圓頂燈，所以在金鐘上會(huì)有反射。

Step 7: Final touches

Lastly after I rendered the image. I started comping the passes I rendered out on Nuke. I then started adding in little effects such as glow and God-rays to further match the concept.

步驟7：最后一點(diǎn)

最后我渲染了圖像。 我開(kāi)始編寫(xiě)我在Nuke上提供的通行證。 然后，我開(kāi)始添加一些很少的效果，如輝光和神光，以進(jìn)一步匹配這個(gè)概念。