在Blender中对降世神通中的卡塔拉进行风格化3D再现
本帖最后由 孟中子 于 2023-9-14 19:06 编辑Kevin Christian Muljadi shared the working process behind the Water Tribe Chief Katara project, detailed his sculpting workflow behind the character's face, head, body, and outfit, and gave advice on achieving a compelling final presentation for a project.
Kevin Christian Muljadi分享了Water Tribe Chief Katara项目背后的工作过程，详细介绍了他在角色的面部，头部，身体和服装背后的雕刻工作流程，并给出了如何为项目实现引人注目的最终渲染的建议。
IntroductionMy
full name is Kevin Christian Muljadi. During my college years, I discovered my passion for traditional sculpting and thoroughly enjoyed studying ZBrush sculpting. However, at that time, I was unaware of my potential in 3D character sculpting.
In 2018, I started creating 3D characters when I was working at an animation studio in Indonesia while working as a concept artist. I became interested in developing my skills in the field of 3D because I felt I had potential there and I enjoyed creating 3D characters more than making concept art. Although at that time I was handling two jobs simultaneously at the studio, it was my own choice.
My previous experience in creating concept characters really helped me to understand anatomy when making 3D characters. After that, I also created my own portfolio to showcase a fan art 3D sculpt. I made "Pharah" from an Overwatch character illustration by David Ardinaryas Lojaya. David later mentioned my work on Instagram – I was pleasantly surprised by that and got quite a lot of likes back then. It really meant a lot to me and I began to continue building my portfolio on Instagram and Artstation.
In 2020, I embarked on an exciting journey as a 3D artist at Stairway Games, contributing to the development of the game called "Coral Island." It has been an incredibly enjoyable and fulfilling experience to be a part of this project, where I have had the opportunity to unleash my creativity and passion.
介绍
我的全名是凯文·克里斯蒂安·穆贾迪。在大学期间，我发现了我对传统雕刻的热情，并非常喜欢学习ZBrush雕刻。然而，当时我并没有意识到自己在3D人物雕刻方面的潜力。
2018年，我开始创作3D角色，当时我在印度尼西亚的一家动画工作室工作，担任概念艺术家。我开始对发展自己在3D领域的技能感兴趣，因为我觉得自己在这方面有潜力，而且比起制作概念艺术，我更喜欢创造3D角色。虽然当时我在工作室同时处理两份工作，但这是我自己的选择。
我之前创作概念人物的经验确实帮助我在制作3D人物时理解了解剖学。在那之后，我也创建了自己的作品集来展示一个粉丝艺术3D雕塑。我做了“法老”。来自David Ardinaryas Lojaya的《守望先锋》角色插画。大卫后来在Instagram上提到了我的作品——我很惊喜，当时得到了很多赞。这对我来说真的很重要，我开始继续在Instagram和Artstation上建立我的作品集。
2020年，我作为一名3D美工在Stairway Games开始了一段激动人心的旅程，为游戏《珊瑚岛》的开发做出了贡献。成为这个项目的一部分是一种令人难以置信的愉快和充实的经历，在这里我有机会释放我的创造力和激情。
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The Water Tribe Chief Katara ProjectI
started working on the Water Tribe Chief Katara project in early 2023, but due to being quite busy, I couldn't consistently work on the project all the time and there was a period of over a month when I had to pause it.
The reason behind creating Katara was that I wanted to start a new project at the beginning of 2023, and I found an amazing Avatar fan art concept created by Casper Hansen, also known as Zarory_CH. I really loved the illustration, especially the cool ice throne on which Katara was depicted sitting.
My workflow involved gathering various alternative references, such as official Nickelodeon illustrations of Katara and other fan art illustrations or 3D artwork to support the sculpting process. This allowed me to translate the concept into 3D more effectively.
水部落酋长卡塔拉项目
我在2023年初开始从事Water Tribe Chief Katara项目，但由于非常忙，我无法一直持续从事该项目，有一个多月的时间我不得不暂停它。
创作Katara的原因是我想在2023年初开始一个新项目，我发现了一个由Casper Hansen(也被称为Zarory_CH)创作的令人惊叹的Avatar粉丝艺术概念。我真的很喜欢这幅插画，尤其是卡塔拉坐在冰冷的冰王座上。我的工作流程包括收集各种可供选择的参考资料，例如卡塔拉的官方Nickelodeon插图和其他粉丝艺术插图或3D艺术品，以支持雕刻过程。这让我能够更有效地将概念转化为3D。
Art by Casper Hansen (Zarory)
Art by Alexandre Proulx Audy
Dark Horse Comics Avatar: The Last Airbender Katara Figure
Art by Dan Eder
Image by Nickelodeon
Art by Tiago Lourenço
Art by RaidesArt
Face and HairI
started sculpting the head using a sphere shape and tried my best to capture the essence of Katara's face initially, although not in great detail or trying to achieve a perfect likeness. My usual workflow involves blocking out several body parts in their intended poses rather than starting from a T-pose model. Once I had partially created the body parts, I proceeded to add the eyeballs, eyebrows, and hair.
To create the hair, I utilized the Curve modifier, shaping the curve to follow Katara's illustration. This hair curve technique is helpful in speeding up my workflow, and I am grateful to YanSculpts for sharing this tip in their YouTube tutorial. To achieve a resemblance to the concept illustration, I overlayed Zarory's artwork onto my sculpt model and adjusted the overall pose to align with the concept's vision.
脸和头发
我先用球体形状雕刻头部，并尽我最大的努力捕捉卡塔拉的脸的本质，虽然不是很详细但试图达到一个完美的相似。我通常的工作流程包括在预定的姿势中屏蔽几个身体部位，而不是从t姿势模型开始。一旦我完成了部分身体部位，我就开始添加眼球、眉毛和头发。
为了创建头发，我使用曲线修改器，按照卡塔拉的插图塑造曲线。这种头发曲线技术有助于加快我的工作流程，我很感谢YanSculpts在他们的YouTube教程中分享这个技巧。为了实现与概念插图的相似之处，我将Zarory的艺术作品叠加到我的雕塑模型上，并调整了整体姿势以符合概念的愿景。
Body and Outfit
When creating the body and clothing, I don't really have any special techniques. I begin by blocking out the body parts and then use masking to extract a clothing mesh that I can sculpt into clothes. Most of the work is done through manual sculpting. For certain details, like the draped fabric around the waist, I start with a low poly shape and then switch to high poly sculpting using Blender's Dyntopo feature. I prefer to work in a pose, so I don't do retopology after sculpting is completed.
身体与服装
在创作身体和服装时，我并没有什么特别的技巧。我先把身体部位遮挡起来，然后用遮罩提取一个衣服网格，我可以把它雕刻成衣服。大部分工作都是通过手工雕刻完成的。对于某些细节，比如腰部周围的褶皱织物，我从低多边形形状开始，然后使用Blender的Dyntopo功能切换到高多边形雕刻。我更喜欢这个姿势，所以我不会在雕刻完成后重新拓扑图。
The process of adding fur can be challenging. I create individual fur shapes using the curve modifier and place them one by one on the clothing to achieve the desired furry effect. As for the leg armor, I use masking to extract a new mesh and sculpt it accordingly. I usually sculpt one side of the armor and then duplicate and modify it to fit the other leg, matching the illustration.
To create the throne chair, I start with a low poly version and then sculpt the edges to give it a more natural, ice-like appearance. I did the same with the crystal behind the throne.
添加皮毛的过程可能具有挑战性。我使用曲线修改器创建单独的毛皮形状，并将它们一个接一个地放在衣服上，以达到所需的毛皮效果。至于腿部盔甲，我使用遮罩提取一个新的网格并相应地雕刻它。我通常雕刻盔甲的一侧，然后复制和修改它以适应另一条腿，与插图相匹配。为了创建王座椅子，我从一个低多边形版本开始，然后雕刻边缘，使其更自然，像冰一样的外观。我对宝座后面的水晶也做了同样的处理。
Unwrapping for Texturing
I don't retopologize the sculpt after I finish the model but I add Subsurface Scattering, Roughness, and color diffuse with Blender Vertex Paint in sculpting mode. I do all of these entirely in Blender.
展开纹理
在我完成模型后，我没有对雕塑进行重新拓扑，但我在雕刻模式下使用Blender顶点油漆添加了次表面散射，粗糙度和颜色扩散。所有这些都是在Blender中完成的。
Texturing
My main focus when texturing Katara was primarily on her face, which I found to be a crucial and challenging part. I made adjustments to give her lips a slightly more relaxed expression, avoiding stiffness. After applying the appropriate skin color, I worked on incorporating Subsurface Scattering (SSS), Roughness, and diffuse color to enhance the texturing.
For the tattoos on her hands and thighs, I created low poly meshes that followed the natural surface contours. These meshes underwent a single subdivision, followed by UV unwrapping and the application of textured designs using alpha channels.
Regarding her clothing and the ice elements, I utilized a comprehensive node shader that I learned from YouTube tutorials. Developing the ice shader presented its own set of challenges, requiring not only shader creation but also careful consideration of lighting setups to enhance the visual appeal of the ice. You can find a nice tutorial on ice shaders here.
纹理
我的主要焦点是纹理卡塔拉主要是在她的脸，我发现这是一个关键和具有挑战性的部分。我做了一些调整，让她的嘴唇看起来稍微放松一些，避免僵硬。在应用了适当的皮肤颜色之后，我结合了次表面散射(SSS)，粗糙度和漫射颜色来增强纹理。
对于她手上和大腿上的纹身，我创建了遵循自然表面轮廓的低多边形网格。这些网格经历了单一的细分，然后是UV展开和使用alpha通道的纹理设计应用。
关于她的衣服和冰元素，我利用了一个全面的节点着色器，我从YouTube教程中学到了。开发冰着色器提出了自己的一系列挑战，不仅需要着色器的创建，还需要仔细考虑照明设置，以增强冰的视觉吸引力。你可以在这里找到一个很好的冰着色教程。
Rendering
I rendered the model using Blender Cycles, and for the lighting setup, I implemented multiple lighting setups to create an attractive focus on Katara's face. My intention was to establish a unique lighting arrangement that differed from the original illustration, as the face is typically the primary focal point in character design.
To achieve an engaging visual effect, I utilized volumetric lighting and incorporated overhead lighting gobos to add a touch of drama and prevent a flat appearance. I also developed an ice-like shader for the floor and added snow-shaped mesh elements to enhance visual interest. Furthermore, I strategically positioned additional lights behind the ice throne to avoid a transparent and dull look.
After finalizing the preferred lighting setups, I introduced snow or dust particle effects to further enhance the overall visual appeal.
In the final stage of post-production, I used Cryptomatte in Blender's compositing to create a mask for the Ice fish, resulting in a brighter appearance. Additionally, I made adjustments to the color grading and exposure to enhance the overall brightness of the image. To further improve the lighting, I incorporated light glare effects during the compositing process.
渲染
我使用Blender Cycles渲染模型，对于照明设置，我实现了多个照明设置，以在卡塔拉的脸上创建一个有吸引力的焦点。我的意图是建立一个独特的灯光安排，不同于原来的插图，因为脸是典型的人物设计的主要焦点。
为了达到引人入胜的视觉效果，我利用了体量照明和顶部照明来增加戏剧感，防止外观单调。我还为地板开发了一个冰状的着色器，并添加了雪状的网格元素来增强视觉效果。此外，我策略性地在冰王座后面放置了额外的灯，以避免透明和沉闷的外观。
在完成首选的照明设置后，我引入了雪或灰尘颗粒效果，以进一步增强整体视觉吸引力。
在后期制作的最后阶段，我使用Cryptomatte在Blender的合成中为冰鱼创建了一个蒙版，从而使外观更亮。此外，我对色彩分级和曝光进行了调整，以增强图像的整体亮度。为了进一步改善照明，我在合成过程中加入了眩光效果。
Conclusion
I'm not sure how much time I spent on this project because I don't really count the total hours of work. Maybe it took me about two months to figure it how to achieve the lighting I want because it was the hardest part for me and I'm not an expert in lighting but I do my best to achieve a good presentation. Rendering the video took me almost two weeks of almost non-stop rendering because I rendered it in 4K resolution.
My advice to beginning Character Artists would be to give your best effort when working on a project and avoid rushing to finish quickly. I often see artists who could have achieved better results, but their work appears hurried or lacks refinement in the final presentation. To me the final presentation is important as it can attract potential clients and make your portfolio more appealing, increasing your chances of finding job opportunities in the industry.
It's essential to realize that not everyone will be satisfied with your work, no matter how good it is. Therefore, welcome feedback from others and use it to improve your next project.
结论
我不确定我在这个项目上花了多少时间，因为我并没有计算总工作时间。也许我花了大约两个月的时间来弄清楚如何实现我想要的照明，因为这对我来说是最难的部分，我不是照明方面的专家，但我尽了最大的努力来实现一个好的演示。渲染视频花了我近两周的时间，几乎是不间断的渲染，因为我是用4K分辨率渲染的。
我对新手角色美工的建议是，在制作项目时尽最大努力，不要急于完成。我经常看到一些艺术家可以取得更好的效果，但他们的作品在最终的呈现中显得匆忙或缺乏精致。对我来说，最后的展示很重要，因为它可以吸引潜在客户，使你的作品集更具吸引力，增加你在行业中找到工作机会的机会。
不管你的工作有多好，不是每个人都会对你的工作感到满意，这一点很重要。因此，欢迎来自他人的反馈，并使用它来改进您的下一个项目。
在Blender中对降世神通中的卡塔拉进行风格化3D再现
首先，你需要在Blender中创建一个新的项目，并导入卡塔拉的参考图像。然后，你可以使用Blender的建模工具来创建角色的面部、头部、身体和服装。
在进行雕刻时，你可以使用Blender的雕刻模式来添加细节和纹理。你可以通过调整笔刷的大小、强度和形状来实现你想要的效果。另外，你还可以使用Blender的多边形建模工具来创建角色的拓扑结构。
完成雕刻后，你可以为角色设置材质和纹理。你可以使用Blender的材质编辑器来调整材质的属性，如颜色、光泽度和反射率。你还可以使用Blender的纹理编辑器来添加纹理图像，以增加角色的视觉效果。
最后，你可以设置灯光和相机来渲染角色。你可以使用Blender的灯光工具来调整光源的位置、强度和颜色。你还可以使用Blender的相机工具来设置渲染的视角和景深效果。
一旦你完成了渲染，你可以导出你的模型和动画供他人欣赏或使用。
——微元素 × GPT，助力游戏开发，CG创作的无限可能！ 帅气逼人 真是 收益 匪浅
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