利用zbrush，Maya和Substance 3D Painter制作一个骑棍子马的男孩
Introduction介绍My name is Peter Sandeman and I'm currently a Senior Character Artist at Bungie. I'm Australian but I moved to LA a few years ago for work. I've been working as a 3D Artist for about 12 years now. I got into 3D art after being hired as a junior designer in my first job and then being asked by the 3D manager if I wanted to learn 3D and eventually join the 3D team, I did and I haven't stopped since. It's a pretty fun job as far as jobs go.我的名字是Peter Sandeman，我目前是Bungie的高级角色艺术家。我是澳大利亚人，但几年前我搬到洛杉矶工作。我已经作为3D艺术家工作了大约12年。在我的第一份工作中被聘为初级设计师后，我进入了3D艺术领域，然后被3D经理问我是否想学习3D并最终加入3D团队，我做到了，从那以后我就没有停止过。就工作而言，这是一项非常有趣的工作。
The There's a Snake in My Boots Project我的靴子里有一条蛇项目This was meant to be a quick one-day project. I needed a break from something else I was working on and originally planned for this just to be a sculpt and leave it there. However, like most things, it ballooned out and all of a sudden I was not only texturing but building a background. My image is based on the work of Andy Estrada. I've been a fan of his for a very long time. This was actually the third time I attempted to make something based on his work, but with the other two, I just ran out of steam. Projects for me feel like a bit of a race, when you start you have all this energy and motivation but over time that starts to dwindle. I find the best practice is to move as quickly as possible because at some point it's going to get hard and you need to make sure you've got the energy to get it over the finish line.
这是本是一个快速的一天项目。我需要从我正在做的其他事情中休息一下，最初计划只是为了雕刻并把它留在那里。然而，像大多数事情一样，它膨胀了，突然间我不仅在制作纹理，而是在构建背景。我的形象是基于Andy Estrada的作品。我是他的粉丝很久了。这实际上是我第三次尝试根据他的作品制作一些东西，但对于另外两次，都无疾而终。对我来说，项目感觉就像是一场比赛，当你开始时，你有所有这些能量和动力，但随着时间的推移，这种能量和动力开始减少。我发现最好的做法是尽快行动，因为在某些时候它会变得困难，你需要确保你有精力让它越过终点线。
As for references, I didn't use a lot for this project. Normally I'd start by gathering everything needed to plan out the whole image but as I had only intended on doing a sculpt the concept art was all I intended on using. As the project scope grew I grabbed a few things here and there (e.g., images for the wooden toy train) but otherwise most of it was so simple I just built from memory. However, an important thing to note is that reference gathering is a critical step in any 3D process so I wouldn't recommend the workflow I used here especially to anyone just starting out.至于参考，我在这个项目上用的不多。通常我会从收集计划整个图像所需的一切开始，但由于我只打算做一个雕塑，所以概念艺术就是我打算使用的全部。随着项目范围的扩大，我在这里和那里抓住了一些东西（例如，木制玩具火车的图像），但除此之外，大部分都很简单，我只是凭记忆构建的。但是，需要注意的重要一点是，参考收集是任何3D流程中的关键步骤，因此我不会推荐我在这里使用的工作流程，尤其是对刚开始的人。
Modeling建 模Unless it's for work, I will almost always block out in-pose (so working asymmetrically). Using ZBrush I grab basic shapes and push and pull them into position. My main focus is making sure the silhouette is working from all angles. It can be very easy to fall into the trap of having things look right from one angle but as soon as you rotate it starts to break down. The best way to avoid this is by continually checking your model from all perspectives, correcting forms early on is much easier than having to try and fix things in the later stages.除非是为了工作，否则我几乎总是会忽略姿势（所以工作不对称）。使用ZBrush，我抓住基本的形状，并通过推拉使其到位置。我的主要重点是确保各个角度的剪影。很容易陷入从一个角度看东西看起来正确的陷阱，但一旦你旋转它就会开始崩溃。避免这种情况的最佳方法是从各个角度不断检查您的模型，尽早更正形体比在后期阶段尝试修复要容易得多。
The face is one thing I don't like to work on asymmetrically. As soon as I have a basic blockout for the head, I will move it back to the center so I can work on it with symmetry, I also like to get good topology in place to make my life easier. There weren't too many challenges in the way of modeling for this project. Other than the character sculpting it's mostly just traditional sub-divisional modeling. One aspect of ZBrush I really like that does help speed up the process is dynamic subdivision. It's super helpful for clothing, it means you can keep the surface single-sided with a low poly count and still be able to see a smooth mesh preview with thickness. Basically, if I'm able to make something using dynamic subdivision, I will; the hat was also made this way.脸部我喜欢对称处理。一旦我有一个基本的头部网格，我就会把它移回中心，这样我就可以对称地工作，我也喜欢通过良好的拓扑结构，让我的生活更轻松。这个项目的建模方式没有太多挑战。除了角色塑造之外，它大多只是传统的细分建模。我非常喜欢ZBrush的一个方面确实有助于加快过程，那就是动态细分。它对布料制作非常有帮助，这意味着您可以保持表面单面，低面数的多边形，并且仍然能够看到具有厚度的光滑网格预览。基本上，如果我能够使用动态细分来制作一些东西，我一定会的;帽子也是通过这个方式制作的。
Retopology重新拓扑For retopology, I use Maya's Quad Draw tool and I also use Maya for all my UV unwrapping. I've used a few other tools for this in the past but I actually like the Maya tool set. The thing it lacks is a good way to do a rectangular unwrap (straighten shell is next to useless and 3rd part tools are pretty slow) but everything else is very good. I prefer staying inside one software package whenever possible.对于重新拓扑，我使用 Maya 的四边形绘制工具，并且还使用 Maya 进行所有 UV 展开。我过去使用过其他一些工具，但我实际上喜欢Maya工具集。它缺少的是进行矩形展开的好方法（拉直外壳几乎无用，第三部分工具非常慢），但其他一切都非常好。我更喜欢尽可能呆在一个软件包里。
Texturing贴图Texturing was all done inside Substance 3D Painter. I made a smart material for skin a few projects back so I tend to reuse that while also trying to improve upon it each time. The eyes are a pretty basic setup as well, they have a hand-painted iris that sits on a concave surface then there is an outer transparent mesh that sits on top and has a convex surface over the iris. It's more or less how you'd set up a realistic human eye and it means light catches when it hits the iris and tends to look nicer than if you didn't do it.贴图都是在Substance 3D Painter中完成的。我在几个项目中为皮肤制作了一种智能材料，所以我倾向于重复使用它，同时也试图每次都改进它。眼睛也是一个非常基本的设置，它们有一个手绘虹膜，位于凹面上，然后有一个外部透明网格位于顶部，虹膜上方有一个凸面。这或多或少是你如何建立一个逼真的人眼，这意味着当光线照射到虹膜时，它会被捕捉到，并且往往看起来比你不这样做时更好看。I generally approach clothing by using a base material found on Substance Source, it's super handy to have a bunch of ready-made materials you can test out and see if hits the vibe you're after. Then you can build upon the top of that to get more complexity and storytelling into your textures. Mostly you're just looking to create variation, think about where dirt might build up but also areas that would be exposed to more light because they will generally fade quicker. Reference is king here because it will expose you to things you might not have otherwise thought to include. I also have a large material library I've collected over the years, so if I can't find what I want or make it in Substance 3D Painter, then I will tend to fall back on that.我通常使用在Substance Source上找到的基础材料来处理服装，拥有一堆现成的材料非常方便，您可以进行测试，看看是否达到您所追求的氛围。然后，您可以在其基础上进行构建，以使您的纹理更加复杂和有故事。大多数情况下，您只是想创造变化，考虑污垢可能堆积的地方，但也考虑暴露在更多光线下的区域，因为它们通常会褪色得更快。参考在这里是王道，因为它会让你接触到你可能没有想到包括的东西。我还有一个多年来收集的大型材质库，所以如果我找不到我想要的东西或在 Substance 3D Painter 中制作它，那么我会倾向于依靠它。
Composition组成The environment was the one element I had to design on my own as the sketch didn't include anything. Again, the planning was very haphazard because it was only meant to be a sculpt. I knew I wanted a western-themed kids' bedroom, but beyond that, it was just a lot of trial and error. I was thinking about a painted backdrop on the wall as if the kid had drawn it himself. However, in all of my tests, this was too visually confusing. Finding a good balance between the environment and the kid was a real struggle, you want the background to support the story without getting in the way. As a result, the scene just sort of evolved along the way. I built one thing which made me think of the next thing and so on.环境是我必须自己设计的一个元素，因为草图不包含任何东西。同样，计划非常随意，因为它只是为了雕刻。我知道我想要一个西方主题的儿童卧室，但除此之外，它只是大量的试验和错误。我在想墙上的彩绘背景，好像是孩子自己画的。然而，在我的所有测试中，这在视觉上太混乱了。在环境和孩子之间找到一个很好的平衡是一场真正的斗争，你希望背景支持故事而不是妨碍。结果，场景只是沿着这个方向发展。我建造了一东西，让我想到了下一个，依此类推。
The background elements were all made with traditional subdivision modeling and then organized around the character to try and give him the best readability. Being flexible with the placement gave me the opportunity to fix areas that were too visually noisy. Kill your darlings, so to speak. Don't be afraid to change everything if need be and try to not get too attached. At the end of the day, your image needs to sell your story above showing off that really nice modeling job you might have done.背景元素都是用传统的细分建模制作的，然后围绕角色进行组织，试图给他最好的可读性。灵活的放置让我有机会修复视觉上太嘈杂的区域。可以这么说，杀死你的宝贝。如果需要，不要害怕改变一切，尽量不要太执着。归根结底，你的形象需要在上面推销你的故事，炫耀你可能已经完成的非常好的建模工作。
Rendering渲染For rendering, I use V-Ray for Maya. I don't put a lot of importance on the software people use, your employment will usually dictate that for you, so I believe the best thing to learn is whatever you have access to and are excited about. That said I like V-Ray because it's fast meaning I get to see my preview renders and make decisions on the overall look a lot quicker.对于渲染，我使用 V-Ray for Maya。我不太重视人们使用的软件，你的工作通常会为你决定这一点，所以我相信最好的学习是你能接触到并感到兴奋的东西。也就是说，我喜欢 V-Ray，因为它很快意味着我可以看到我的预览渲染并更快地对整体外观做出决定。I light almost exclusively using area lights and I tend to follow the basic three-point lighting principles and build up from there. I will light using just one light at a time so I know exactly what it's doing, then I will balance them all together once I think I have everything I need.我几乎只使用区域灯进行照明，我倾向于遵循基本的三点照明原则并从那里开始构建。我将一次只使用一盏灯进行照明，这样我就确切地知道它在做什么，然后一旦我认为我拥有了所需的一切，我就会将它们平衡在一起。For compositing, I use Nuke, I had to learn it a little while back for my job and I just continued with it. I'm still way faster in Photoshop but Nuke is a lot more flexible. I don't know if I have any rendering tricks for stylized characters but I do like to take advantage of light linking. If there's something specific I'd like the lighting to hit but I don't necessarily want it to impact everything then light linking is a great way to achieve that. In traditional photography, this would have to be done using cutters, so it's a pretty handy feature to have in 3D.对于合成，我使用Nuke，我必须学习一段时间的工作，然后我继续使用它。我在Photoshop中仍然更快，但Nuke更加灵活。我不知道我是否有任何风格化角色的渲染技巧，但我喜欢利用灯光链接。如果我希望照明击中某些特定的东西，但我不一定希望它影响一切，那么光链接是实现这一目标的好方法。在传统摄影中，这必须使用切割器来完成，因此在3D中这是一个非常方便的功能。
Conclusion 结论All up I was probably working on this on and off for a couple of months. Whenever I finish a project, I like to critically assess the result and come away with areas for improvement. I find this is often a more helpful approach than indefinitely working on things I don't like. Failure is often the best way to learn, so as an example, even though I was never happy with the horse fur, I took a lot of lessons out of it and next time I tackle a similar problem, I'm confident I can improve upon it.总而言之，我可能断断续续地为此工作了几个月。每当我完成一个项目时，我都喜欢批判性地评估结果，并提出需要改进的地方。我发现这通常比无限期地做我不喜欢的事情更有帮助。失败往往是最好的学习方式，所以举个例子，尽管我对马毛从不满意，但我从中吸取了很多教训，下次我解决类似的问题时，我相信我可以改进它。
Whatever skills I possess are a culmination of lessons learnt along the way so I guess my advice to aspiring artists is to not be afraid to fail. I'm a big fan of this quote: "Fail early, fail often, but always fail forward". So long as you are learning from your failures and not just repeating them, I think you're on the right track.无论我拥有什么技能，都是一路上经验教训的结晶，所以我想我对有抱负的艺术家的建议是不要害怕失败。我是这句话的忠实粉丝：“早失败，经常失败，但总是失败向前”。只要你从失败中吸取教训，而不仅仅是重复失败，我认为你走在正确的轨道上。
我是个凑数的。。。 哇，不错呀 谢谢楼主分享！！~
页:
[1]