用 ZBrush， Substance 3D Painter 和 Arnold制作毛骨悚然的妖怪---双语
Anastasia Fomina walked us through the process of making the Yokai project, discussed the struggles of working with hair in XGen, and demonstrated how the kimono and accessories were set up to complete the chilling look.Anastasia Fomina向我们介绍了制作妖怪项目的过程，讨论了在XGen中处理头发的困难，并演示了如何设置和服和配饰以完成令人毛骨悚然的外观。Introduction 介绍
Hi, I'm Anastasia, a 3D character artist in the gaming industry. I started learning 3D about three years ago and decided to try a new pipeline, enrolling in courses on cinematography and film. Today, I want to share with you the result of my work.
嗨，我是阿纳斯塔西娅，游戏行业的 3D 角色艺术家。大约三年前，我开始学习3D，并决定尝试一个新的管道，报名参加电影摄影和电影课程。今天，我想和大家分享我的工作成果。
I decided to talk about how I completed this project in two months, without having experience in cinematics. I will focus on artistic decisions and struggles, avoiding technical aspects, which you can find in the Character Creation for Films-Cinematics course.
我决定谈谈如何在没有过场动画经验的情况下在两个月内完成这个项目。我将专注于艺术决策和斗争，避免技术方面，您可以在电影角色创作 - 电影课程中找到。
The Yōkai Project妖怪项目
I was ignited by the idea of recreating something that evokes an attractive fear using new knowledge and a new pipeline. I am very drawn to the concept of alluring fear. From the very beginning, I wanted to embody a character with a mysterious, gloomy story, creating a story shrouded in mystery.
我被使用新知识和新管道重新创造一些唤起有吸引力的恐惧的想法所点燃。我非常被诱人恐惧的概念所吸引。从一开始，我就想用一个神秘、阴郁的故事来体现一个角色，创造一个笼罩在神秘之中的故事。
Inspiration came to me thanks to the concept of David Benzal. This concept depicted a Yōkai – a supernatural creature from Japanese mythology.
灵感来自大卫·本扎尔的概念。这个概念描绘了一个妖怪——日本神话中的超自然生物。
The initial idea was to combine a human body with spider legs. I even managed to create a blockout but decided to abandon this idea during the course.
最初的想法是将人体与蜘蛛腿结合起来。我什至设法创建了一个封锁，但决定在课程中放弃这个想法。
By the way, I just adore all kinds of aesthetic creepiness! My main goal is to create something unique and thrilling, something that could peer into the viewer's soul.
顺便说一句，我只是喜欢各种审美毛骨悚然！我的主要目标是创造一些独特而令人兴奋的东西，一些可以窥探观众灵魂的东西。
The first week started with the creation of the character's blockout. Next, I designed the clothing using CLO Designer and refined the character's silhouette. At this stage, I decided to leave him in an A-pose
第一周从创建角色的封锁开始。接下来，我使用CLO Designer设计了服装，并改进了角色的轮廓。在这个阶段，我决定让他摆一个A形姿势
After that, I worked on sculpting the human head with primary forms that were close to the concept and prepared UV mapping, applying TexturingXYZ to the head for high-quality detailing.
之后，我致力于用接近概念的主要形式雕刻人头，并准备UV贴图，将TextureuringXYZ应用于头部以获得高质量的细节。
I combined several multi_textures and set up high-quality detailing in Maya.
我结合了几个multi_textures，并在Maya中设置了高质量的细节。
The next stage is related to modeling and texturing one of the most important elements of any character – the eyeballs. The eye consisted of several parts, each of which I worked on separately.
下一阶段与建模和纹理有关，这是任何角色最重要的元素之一——眼球。眼睛由几个部分组成，每个部分我分别处理。
Hair 毛发
The stage of working in XGen nearly drove me into depression. How hard it was! Trying to make artificial hair in XGen I almost lost my own. Probably 7 or 10 times the work was redone from scratch.
在XGen工作的阶段几乎让我陷入抑郁。这是多么难啊！试图在XGen中制作人造头发，我几乎失去了自己的头发。大概有 7 或 10 次工作是从头开始重做的。
I also studied a lot of materials on hair. Maya kept crashing on me, often without saving XGen data. I felt like XGen was dominating me, ruling and humiliating me.
我还研究了很多关于头发的材料。Maya不断崩溃，经常没有保存XGen数据。我觉得XGen在支配我，统治和羞辱我。
Surprisingly, I had no particular problems with eyelashes and eyebrows; I think XGen took pity on me at that moment.
令人惊讶的是，我的睫毛和眉毛没有特别的问题;我想XGen在那一刻怜悯了我。
In the end, I didn't like the result that I had worked so hard on. I wanted to create a mystical Yokai, but with loose hair, this effect seemed to disappear. I had to leave the hair alone for a couple of weeks and get on with other important matters. If the hair had not turned out, it would have noticeably worsened my work. At that moment, I was thinking of leaving Yokai bald and "come what may." That's why this stage put me under serious stress.
最后，我不喜欢我如此努力的结果。我想创造一个神秘的妖怪，但随着头发的松散，这种效果似乎消失了。我不得不把头发单独留几个星期，然后继续处理其他重要的事情。如果头发没有脱落，我会明显恶化我的工作。那一刻，我想着离开妖怪秃头，“不惜一切代价来。这就是为什么这个阶段让我承受着巨大的压力。
Clothes & Accessories服装及配饰
In the sixth week, I worked on modeling and preparing clothing and accessories for work in ZBrush. I restitched and augmented the kimono, as the outfit had a massive volume of fabric, and we didn't know how it would behave during rigging. It was decided to pose the character. I sewed the clothing in such a way as to create the impression that Yokai is slowly moving or has frozen at the sight of its victim
在第六周，我开始为ZBrush的工作建模和准备服装和配饰。我重新缝制并增加了和服，因为服装有大量的面料，我们不知道它在索具过程中会如何表现。决定摆出这个角色的姿势。我缝制衣服的方式是为了给人一种妖怪在看到受害者时缓慢移动或冻结的印象
All decorative elements were added through alphas in ZBrush. Some of them were drawn by hand. Also, at the ZBrush stage, I added slight wrinkles to the fabric so that it looked softer and thinner.
所有装饰元素都是通过ZBrush中的alphas添加的。其中一些是手工绘制的。此外，在ZBrush阶段，我在织物上添加了轻微的皱纹，使其看起来更柔软，更薄。
The Japanese sandals were combined at my discretion, based on a standard model of Japanese geta. All the drawings on the kimono were also added during the detailing process of the ZBrush model.
日本凉鞋是我根据日本木屐的标准模型自行决定组合的。和服上的所有图纸也是在ZBrush模型的细节设计过程中添加的。
All the interesting elements were added during the development stage; I didn't have a clear plan, many moments differed from the concept, and I wanted to combine everything I felt was necessary for this work.
所有有趣的元素都是在开发阶段添加的;我没有一个明确的计划，很多时刻与概念不同，我想结合我认为这项工作所必需的一切。
I tried to depict the whitening on Yokai's face naturally; it's a thin white mask, partly worn off and embedded in the pores. Using a black-and-white map created in Substance 3D Painter, I was able to achieve this result.
所有有趣的元素都是在开发阶段添加的;我没有一个明确的计划，很多时刻与概念不同，我想结合我认为这项工作所必需的一切。
Using the shawl as an example, it was clear that this detail adds charm and the right atmosphere to the whole picture; I can hide the face behind the shawl, which is gentle and airy, while Yokai is covered in blood with a smeared mask on her face. It was an element of contrast “from light to dark,” creating the desired atmosphere in the work.
以披肩为例，很明显，这个细节为整个画面增添了魅力和合适的氛围;我可以把脸藏在披肩后面，温柔通风，而妖怪浑身是血，脸上涂着面具。这是一种“从光明到黑暗”的对比元素，在作品中营造出理想的氛围。
I was pondering how best to depict the golden elements on the kimono, and it took quite some time before I realized that the gold needed to be removed. It created a strong “noise” on the kimono, distracting attention from truly important details, and the lightness was lost.
我在思考如何最好地描绘和服上的金色元素，我花了很长时间才意识到需要去除金色。它在和服上产生了强烈的“噪音”，分散了对真正重要细节的注意力，轻盈感消失了。
In the end, it was decided to replace the golden element on the kimono with regular embroidery, and it turned out exactly as I wanted. The fabric looks soft and velvety, and the embroidery adds aesthetic richness to the kimono.
我在思考如何最好地描绘和服上的金色元素，我花了很长时间才意识到需要去除金色。它在和服上产生了强烈的“噪音”，分散了对真正重要细节的注意力，轻盈感消失了。
An interesting fact: after reading the history of the kimono, I deliberately wrapped it to the left side. The kimono is only wrapped to the left side for the deceased, and since Yokai is a malevolent spirit, this detail certainly makes sense.
一个有趣的事实：在阅读了和服的历史后，我故意将其包裹在左侧。和服只包裹在死者的左侧，由于妖怪是一个恶灵，这个细节当然是有道理的。
The ghost's clothing was supposed to be covered with a heavy layer of blood, but since the color of the kimono is similar to the color of blood, it was a strange decision to stain it (red on red – really?!). Here, a minor conflict occurred, and I had to change the concept slightly.
鬼魂的衣服应该沾满一层厚重的血，但由于和服的颜色与血的颜色相似，所以把它染成一个奇怪的决定（红底红字——真的吗？！在这里，发生了一个小冲突，我不得不稍微改变一下概念。
In the end, the decision was made to remove the blood, but to stain part of the light clothing, the pants, socks, and blouse and to focus on the fan. Dried bloodstains on the fan as part of the story.
最后，决定去除血液，但弄脏部分轻便的衣服，裤子，袜子和衬衫，并专注于风扇。风扇上的干血迹是故事的一部分。
Yokai can easily deal with a victim with her long, razor-sharp claws, and to avoid staining her face, she can shield it with the fan. That's what I was thinking at that moment.
妖怪可以用她锋利的长爪轻松对付受害者，为了避免弄脏她的脸，她可以用扇子遮挡它。这就是我当时的想法。
And finally, I returned to the hair and, once again, started from scratch to create a hairstyle with swept-back hair. After a long series of manipulations, I managed to create something that satisfied me, but it lacked the carelessness, disheveled appearance, and entanglement in the hairstyle. Later on, I corrected this in the right direction.
最后，我回到头发上，再次从头开始，用向后扫过的头发创建一个发型。经过一长串的处理，我设法创造了一些令我满意的东西，但它缺乏粗心、凌乱的外观和发型的纠缠。后来，我朝着正确的方向纠正了这一点。
I had never worked with shaders in Arnold (Maya) before, and connecting displacement maps and textures to Maya took up a lot of my time, as I had to draw a sort of mask in Substance 3D Painter and reassemble materials in Maya for more flexible configuration. I separately configured the shader for skin and metallic elements.
我以前从未在 Arnold （Maya） 中使用过着色器，将置换贴图和纹理连接到 Maya 占用了我很多时间，因为我必须在 Substance 3D Painter 中绘制一种蒙版，并在 Maya 中重新组装材质以实现更灵活的配置。我分别配置了皮肤和金属元素的着色器。
Hands 手
I focused on the hands and gestures. I also worked with references, wanting to showcase specifically old hands, dirtied with soil and blood. Yokai has a beautiful, youthful face, but if you pay attention to the hands, it becomes clear that you are facing a more ancient evil, and the fair face is merely a mask.
我专注于手和手势。我还与参考资料合作，想特别展示被泥土和鲜血弄脏的老手。妖怪有一张美丽、年轻的脸，但如果你注意手，很明显你面对的是一个更古老的邪恶，而白皙的脸只是一个面具。
If you look at the frame where Yokai holds her hand in front of her face, there will be a sensation that the hand is not hers and that someone or something is holding her by the chin and head (I like this effect). I worked with textures from the 3D scan store.
如果你看妖怪把手放在脸前的画面，会有一种感觉，那只手不是她的，有人或东西抓住她的下巴和头（我喜欢这种效果）。我处理了3D扫描商店的纹理。
Lighting & Rendering 照明和渲染
It took me a lot of time and effort to learn lighting methods in Maya. I tried lighting based on HDRI and studio lighting using area lighting. I figured out the camera (depth of field, shutter, aperture).
我花了大量的时间和精力来学习Maya的光照方法。我尝试了基于 HDRI 的照明和使用区域照明的工作室照明。我想出了相机（景深，快门，光圈）。
I wanted to achieve a film-like frame with depth and meaning. Yokai looked equally good in warm and cold tones, but I was drawn to the cold shades, found a large number of references with the desired atmosphere, and tried to get closer to it.
我想实现一个具有深度和意义的电影般的框架。妖怪在暖色调和冷色调中看起来同样不错，但我被冷色调所吸引，找到了大量具有所需氛围的参考资料，并试图接近它。
The main problem was that when using certain HDRI maps, I couldn't achieve a sparkle in the eyes; I couldn't make them look alive. Adding a few additional light sources specifically for the eyes solved the problem. But it was important not to over-illuminate the face, to make it look as if the event was happening in the forest, and that there were no obvious additional light sources.
主要问题是，当使用某些HDRI地图时，我无法在眼睛中闪闪发光;我无法让他们看起来还活着。为眼睛添加一些额外的光源解决了这个问题。但重要的是不要过度照亮脸部，使其看起来像是在森林中发生的事件，并且没有明显的额外光源。
Conclusion 总结
I hope you found it interesting to see the process of creation, and believe me, this is really only a small part of the trials and errors.
我希望你觉得看到创造的过程很有趣，相信我，这真的只是试错的一小部分。
I took a break from work for a week or two, came back with a fresh mind, and refined it.
In the end, I am satisfied with the result; it seems that the dark effect I so desired was achieved. And that very attractive fear is portrayed here as I see and feel it.
我希望你觉得看到创造的过程很有趣，相信我，这真的只是试错的一小部分。
Find me on ArtStation and Instagram to see more.
在ArtStation和Instagram上找到我，查看更多内容。
真是 收益 匪浅 没看完~~~~ 先顶，好同志 小手一抖，积分到手！ 我们先定一个小目标~比如一天挖一吨元素币 {:1_235:}{:1_235:}
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