可愛的卡通人物Namaki的制作

介紹

Introduction

Namaki意味著親愛的;在我的國家，當(dāng)我們看到一個可愛的小女孩或男孩時，我們會使用這個表情。在過去的五年里，自從我開始學(xué)習(xí)如何用鋼筆畫出完美的圓圈，我就有了制作這個角色的想法——這僅僅是個開始。那時候，我不是很認真，因為我沒有繪畫技巧;我更喜歡3D，而不是2D。每當(dāng)我的手離開3D的時候，我就會畫兩個圓圈，在圓圈的底部畫上兩個點(試一下，你會看到一張有趣的臉)，然后我就把自己變成了一個人物面部表情的一部分;漸漸地，我可以畫出頭部和其他部分(我仍然可以用這種方式畫出這些角色，并且我可以在一個文件夾里收集這些圖畫)。我決定對其中一個角色進行建模，以應(yīng)對挑戰(zhàn)。

Namaki means sweetie; in my country we use the expression when we see a cute baby girl or boy. For the past five years, since I started learning how to draw perfect circles with a pen, I've had the idea of designing what you see now - this is just the beginning. Back then, I wasn't too serious about it because I didn't have any drawing skills; I was more into 3D than 2D. Whenever my hands were off 3D I would draw two circles close to each other, put two dots on the bottom of the circles (try it and you'll see a funny face) and from there I had myself part of a character's facial expression; little by little I was able to draw the head and the other parts (I still draw these characters in this way whenever I can and I collect the drawings in a folder). I decided to model one of these characters for a challenge.

素描和繪畫

Sketching & Painting

我應(yīng)該從初學(xué)者的時候就開始強調(diào)，如果你想要創(chuàng)造東西首先是:draw。繪畫基本上是在思考!我開始畫人物;然而，當(dāng)時我只能畫圓圈(圖01)。然后我用不同的顏色來畫它，直到我達到了最佳的主題。

I should highlight from the start for beginners, that if you have something in mind that you want to create then first of all: draw. Drawing is basically thinking out loud! I started by drawing the character; however, at the time I could only draw circles (Fig.01). I then painted it using different colour variations until I reached the best theme.

圖01

造型

Modelling

我基本上是用多邊形原始對象(如立方體、球體和圓筒)來建模的。

(圖02)。

I basically modelled the character, starting with polygon primitive objects such as a cube, sphere and cylinder
(Fig.02).

圖 02

材質(zhì)、燈光和Rendereing

Texturing, Lighting & Rendereing

我繼續(xù)做UVs，并給模型添加一個基本的紋理(圖03)。根據(jù)我的照明和渲染，我主要做了最后的紋理渲染，這意味著在給模型添加了基本的顏色和紋理之后，我準備了我的照明和渲染，然后根據(jù)燈光設(shè)置做了最后的紋理。

I continued by making the UVs and adding a basic texture to the model (Fig.03). I mostly did the final texturing according to my lighting and rendering, meaning that after adding the basic colours and texture to the model, I prepared my lighting and rendering, and then made the final textures according to the lighting setup.

圖 03

在這個場景中，我使用了三個區(qū)域燈光(圖04)和環(huán)境色彩。我將mia_physicalsky1連接到攝像機的環(huán)境著色器(圖05)。

For the scene I used three area lights (Fig.04) and an ambient colour for the environment. I connected mia_physicalsky1 to the Environment Shader of the camera (Fig.05).

圖 04

圖05

對于音頻映射，我將mia_exposure_photoic1連接到相機的鏡頭著色器(圖06)。

For the tone mapping I connected mia_exposure_photographic1 to the lens shader of the camera (Fig.06).

圖06

后期制作

Post-Production

這個階段是我的最愛!因為我對每件事都很滿意，所以我立刻把所有的東西都呈現(xiàn)出來了。我后來增加了對比度，添加了一個環(huán)境遮擋層和幾個掩模渲染，以增加圖像的各個部分的飽和度(圖07)。

This stage is my favourite! For this image I rendered everything at once, since I was quite happy with everything. I later increased contrast by adding an ambient occlusion layer and several mask renders to add some saturation to individual parts of the image (Fig.07).

圖 07

我做了一條路徑，用我的刷子把它填滿，然后在上面加了一個點，讓眼睛更亮(圖08)。

For the eyes I made a path and filled it with my brush, and then added a point on top to give the eye more shine (Fig.08).

圖08

我從Photoshop中修正了圖像的顏色，添加了景深，然后又回到Photoshop中，添加了色差——這給圖像賦予了生命，讓它看起來更專業(yè)(圖09)。

I took the colour corrected image from Photoshop to After Effects to add the depth of field, and then returned to Photoshop to add the chromatic aberration - which gives life to an image and makes it more professional looking (Fig.09).

圖 09

最終圖像

Final Image

我希望你對我的工作流程感到滿意。最后，我要感謝我的妻子幫我處理這個形象，并給了我很好的反饋。感謝你的閱讀。

I hope this breakdown gives you a good idea about my work flow. Finally, I would like to thank my wife for helping me with this image and for giving me great feedback. Thanks for reading.