美女偶像角色制作

我是自由數(shù)字雕塑家和3D角色建模師，為各種游戲工作室創(chuàng)作角色，包括PlayStation和Bluepoint游戲。 這是我的角色“偶像”的制作。

I am freelance digital sculptor and 3D character modeler, and have created characters for various game studios, included PlayStation and Bluepoint games. This is the making of my character "Idol."

步驟1: 組成

在做任何特別的事情之前，我先用一些非�；�本的形狀來(lái)設(shè)置我的場(chǎng)景，看看我想把所有的部件放在哪里，然后我想可能的問(wèn)題。對(duì)于手，我使用了z球體和身體ZBrush IMM的身體部位。對(duì)于面料，我使用標(biāo)準(zhǔn)的ZBrush飛機(jī)和一些網(wǎng)格提取，以使所有的東西都準(zhǔn)備好并到位。我還使用了ZModeler。

Step 1: Composition

Before doing anything special I set my scene with some very basic shapes to see where I want to place all the parts, and I think ahead about possible problems. For the hands, I used ZSpheres and for the body ZBrush IMM body parts. For fabrics I used standard ZBrush planes and some mesh extractions with ZRemeshing to get everything ready and in place. For everything else I used ZModeler.

第二步:做弓

我添加了一個(gè)平面作為空值，就像圖中顯示的那樣，開(kāi)始建模。我用小零件開(kāi)始對(duì)稱(chēng)，然后合并每個(gè)子工具;然后分別做了所有的部分后，我將它們?nèi)�部合并，并使用了鏡像和焊接，然后在我已經(jīng)放置的向?qū)��?duì)象的幫助下將它們移動(dòng)到合適的位置。

Step 2: Making the bow

I added a plane as a null, as it is shown in the picture, to begin modeling. I started in symmetry with small parts and then I merged each SubTool; then after doing all the parts separately, I merged them all and used mirror and weld before moving them into place with the help of the guide object that I had already placed.

步驟三:制作布料褶皺

我建議研究和觀察不同種類(lèi)的褶皺，如zigzag、螺旋、死褶、飛行褶皺、半鎖、尿布褶皺等。您可以使用引用來(lái)研究和復(fù)制ZBrush內(nèi)的那些褶皺，這并不太難，但是您應(yīng)該使用ZRemeshing來(lái)清理您的網(wǎng)格，并且在我看來(lái)，至少要返回兩到三次才能得到最好的結(jié)果。我使用了標(biāo)準(zhǔn)的筆刷，有alpha 38和39，和高滾動(dòng)距離，結(jié)合移動(dòng)，縮放，膨脹，和少量的重力。

Step 3: Making the cloth folds

For cloth folds I suggest studying and seeing different kinds of folds like zigzag, spiral, deadfolds, flying folds, half lock, diaper folds, and so on. You can use references to study and copy those folds within ZBrush, which isn't too difficult, but you should clean your mesh using ZRemeshing, and project back at least two or three times to get the best results, in my opinion. I used a standard brush with alpha 38 and 39, and high roll distance with combination of Move, Pinch, Inflate, and a low amount of gravity.

第四步:制作頭發(fā)

我使用的IMM頭發(fā)可以免費(fèi)從gumroad下載。我從一個(gè)使用dynamesh的基本網(wǎng)格開(kāi)始，然后開(kāi)始添加頭發(fā)，為他們?cè)黾痈�多的�?dòng)作。我還使用了移動(dòng)拓?fù)鋪?lái)添加頭發(fā)，因?yàn)樵贗MM畫(huà)筆中有一些毛發(fā)組合，你可以使用，而頭發(fā)的關(guān)鍵是制作足夠的復(fù)制品，來(lái)回走動(dòng)以獲得最好的結(jié)果。

Step 4: Making of the hair

The IMM hair that I used is available for free download from gumroad. I began with a basic mesh using dynamesh, then started to add hair strands and play around with them to add more motion to them. I also used move topological to add strands because there are hair polygroups in the IMM brush that you can use, and the key thing with hair is making enough duplicates and playing around with them, going back and forth to get the best possible results.

步驟5:準(zhǔn)備渲染

我開(kāi)始在ZBrush內(nèi)部用低RGB強(qiáng)度的標(biāo)準(zhǔn)畫(huà)筆繪制模型，使用ZBrush默認(rèn)alphas的彩色噴漆來(lái)繪制這個(gè)字符，也可以聚焦投影。我用ZBrush雙遮光材料，基本材料，和皮膚的陰影，使黃金，皮革，皮膚，和織物材料非常容易，玩弄規(guī)格，擴(kuò)散，和反射率值。

Step 5: Getting ready to render

I started painting the model inside of ZBrush using the standard brush with low RGB intensity, and using color spray with ZBrush default alphas to paint this character and also spotlight projections. I used ZBrush double shade material, basic materials, and skin shades to make gold, leather, skin, and fabric material very easily, playing around with the spec, diffuse, and reflectivity values.

步驟6:在ZBrush中渲染BPR

ZBrush BPR渲染是一個(gè)很好的渲染工具。我首先做了一些測(cè)試渲染分辨率較低的缺陷,然后我朝這個(gè)方向值高,開(kāi)始呈現(xiàn)與射線約90和藍(lán)色,然后我把我的光,rim呈現(xiàn)一些燈光,還有一些呈現(xiàn)反射。我也為ID pass做了一個(gè)，以便在Photoshop中進(jìn)行選擇。

Step 6: Rendering with BPR in ZBrush

ZBrush BPR render is a really quick tool for nice renders. I firstly did some test renders with low resolutions to see the flaws, and then I cranked up the values to high and started rendering with rays around 90 and blue to 9, and then I set my light to rim light to render some with back lights, and also some renders for reflections. I also did one for the ID pass in order to make selections inside of Photoshop.

第七步:混合ZBrush通過(guò)

嗯，我開(kāi)始在Photoshop里面創(chuàng)建不同的通道，做出選擇，選擇不同的部分，清理我不需要的部分。我混合了一個(gè)影子傳球、AO傳球、油漆傳球和其他。為了進(jìn)一步改進(jìn)，我在線性減淡、乘法、屏幕、覆蓋等方面改變了圖層。這只是一個(gè)在他們之間反復(fù)試驗(yàn)的問(wèn)題。

Step 7: Mixing ZBrush passes

Well, I started composing different passes inside of Photoshop, making selections and choosing different parts and cleaning extra parts that I didn't need. I mixed a shadow pass, AO pass, paint pass, and others. For further improvement, I changed layers betweem linear dodge, multiply, screen, overlay, and so on... it was only a matter of experimenting back and forth between them.