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本帖最后由 秋令6689 于 2022-5-17 15:36 编辑
JINX – Character Breakdown – Tatiana Demakina JINX – 角色分解 – 塔蒂亚娜·德马金娜
INTRODUCTION My name is Tatiana Demakina, an amateur3D artist from Ukraine, I am developing my skills by self-study method. In the future, I plan to work in the game industry, so I increase my skills in creating stylized 3D characters. After watching the cartoon Arcane, from the incredible Riot Games, I was seriously inspired and decided to create a character based on the N I X E U concept (I was hooked on the idea, and how emotions are conveyed here) 介绍 我的名字是Tatiana Demakina，一位来自乌克兰的业余3D艺术家，我正在通过自学方法发展我的技能。将来，我计划在游戏行业工作，所以我提高了创建风格化3D角色的技能。在观看了来自令人难以置信的Riot Games的卡通Arcane之后，我受到了严重的启发，并决定创建一个基于N I X E U概念的角色（我迷上了这个想法，以及这里如何传达情感） I create 3D models from 2D concepts of different artists and this is how I improve my skills. 我从不同艺术家的2D概念创建3D模型，这就是我提高技能的方式。 References are very important for all projects, so in order to create a character in a certain style, you need to see how different artists did this hero. Usually, I don’t use a lot of references, a couple is enough for me to understand the nature of the model, I can feel it and create them as my inner imagination tells me. 引用对于所有项目都非常重要，因此为了以某种风格创建角色，您需要了解不同的艺术家如何制作这个英雄。通常，我不会使用很多参考资料，一对夫妇就足以让我理解模型的本质，我可以感觉到它并按照我内心的想象力告诉我的那样创造它们。 For my characters, I mainly use ZBrush for sculpting, and Marmoset toolbag for rendering, and Photoshop for post-processing. But I also use other programs such as Maya and Substance Painter, just not at the level I would like, but I am still learning and hope that in the future I will be able to master them at a higher level. 对于我的角色，我主要使用ZBrush进行雕刻，使用Marmoset工具包进行渲染，并使用Photoshop进行后期处理。但我也使用其他程序，如Maya和Substance Painter，只是没有达到我想要的水平，但我仍在学习，并希望将来我能够在更高的水平上掌握它们。 SCULPTING I sculpt all my models from the very beginning. Since I need to improve my skills, I never take ready-made models, so I start working with blocking from geometric shapes, or, in this case, from the head. 雕刻 我从一开始就雕刻了我所有的模型。由于我需要提高我的技能，我从不采用现成的模型，所以我开始使用几何形状的阻挡，或者在这种情况下，从头部。 It is necessary to improve my skills, I never take ready-made models. I start working with blocking from geometric shapes, or, as in this case, from the head. 有必要提高我的技能，我从不采取现成的模型。我开始使用几何形状的阻挡，或者像本例中一样，从头部遮挡。 I studied anatomy at the university, so in this regard, it is easier for me to create models, but I still use some basic anatomical figures, I just find them on the Internet. And if I don’t find any, then I remember the basic proportions of a person. Here are some easy rules to help you master the basics. 我在大学学习解剖学，所以在这方面，我更容易创建模型，但我仍然使用一些基本的解剖图形，我只是在互联网上找到它们。如果我找不到任何东西，那么我记得一个人的基本比例。以下是一些简单的规则，可帮助您掌握基础知识。 The human body is divided into eight parts: Head (from crown to chin). Upper chest (from chin to nipples). Lower chest (nipple to navel). Pelvis (from the navel to the perineum). Upper leg (up to mid-thigh). Lower leg (up to the knee). Calf muscles. Shin and foot. 人体分为八个部分： 头部（从冠部到下巴）。 上胸部（从下巴到）。 下胸部（到肚脐）。 骨盆（从肚脐到会阴）。 大腿（直至大腿中部）。 小腿（直至膝盖）。 小腿肌肉。 胫和脚。 Also: The width of the waist is equal to the whole head, in men it is lower than in women; Elbows are at the level of the navel, and fingers reach mid-thigh; The hips are narrower than the shoulders; The torso of women is rounded, while men are trapezoidal and angular; Arm from elbow to fingertips is equal in length to leg from knee to heel; The neck is not a cylinder and therefore tapers downward, and the transition from it to the shoulders should be trapezoidal; Do not forget about the natural curves of the body! Everything is very simple, then it will come to automatism. 也： 腰部的宽度等于整个头部，男性比女性低; 肘部在肚脐的水平，手指到达大腿中部; 臀部比肩膀窄; 女性的躯干是圆形的，而男性是梯形和棱角分明的; 手臂从肘部到指尖的长度与腿部从膝盖到脚跟的长度相等; 颈部不是圆柱体，因此向下逐渐变细，从颈部到肩部的过渡应该是梯形的; 不要忘记身体的自然曲线！ 一切都很简单，然后它就会变成自动主义。 An example of my basic model. 我的基本模型的一个例子。 I always use Dynamesh initially to sculpt the basic features. After that, I duplicate the model and apply Zremesher to do automatic retopology, when I have enough time I naturally do it myself, in Maya 我最初总是使用Dynamesh来雕刻基本特征。之后，我复制模型并应用Zremesher进行自动重新拓扑，当我有足够的时间时，我自然会自己做，在Maya中 The next step is to create a high poly model through the projection of details on low poly, I do this using Project All. 下一步是通过在低多边形上投影细节来创建一个高多边形模型，我使用Project All执行此操作。 After that, I add details and go to Polypaint. When painting, it is necessary to use as pure colors as possible so that the model does not look dirty. Colors should be bright, and not mixed. I use this method as in classical painting, in order to convey the naturalness and liveliness of the face. 之后，我添加详细信息并转到Polypaint。绘画时，必须尽可能使用纯色，以使模型看起来不脏。颜色应明亮，不得混合。我像在古典绘画中一样使用这种方法，以传达脸部的自然和活泼。 The next step is to create clothes. Almost all clothing details can be made in a simple way through masks. Select part of the clothes through the mask, then use Extrаct to extrude, remove the inner part so that only the shape of the clothes remains, and reduce the polygons using Zremesh, add thickness to the clothes if necessary. After that, I add polygons and folds to the clothes. 下一步是制作衣服。几乎所有的服装细节都可以通过口罩以简单的方式制作。通过口罩选择衣服的一部分，然后使用Extrаct挤出，去除内部部分，以便只留下衣服的形状，并使用Zremesh减少多边形，必要时增加衣服的厚度。之后，我在衣服上添加多边形和褶皱。 The next step is creating hair. I make a hat for the hair in the same way as the clothes with the help of a mask. I make the basic shape and add strands with a hairbrush. 下一步是创造头发。我用面具为头发做一顶帽子，就像做衣服一样。制作基本形状，并用梳子添加发丝。 After everything is done, I move on to the pose of the character, I use the Transpose Master. But sometimes I put a character in a pose right away, it’s hard to work without symmetry later. The model will look more alive if it will be more asymmetrical. Are you agree? 完成所有操作后，我转到角色的姿势，我使用转置大师。但有时我会立即把一个角色摆成一个姿势，以后很难在没有对称性的情况下工作。如果模型更加不对称，它看起来会更活跃。你同意吗？ After everything is done, I move on to the pose of the character, I use the Transpose Master. But sometimes I put a character in a pose right away, it’s hard to work without symmetry later, but the more symmetrical the character is, the more lively he looks, you must agree. To rotate body parts I use Gizmo and masks, it is more convenient for me to use them than Transpose Line. I mask the parts that need to turn at the joints and where the joints are located. 完成所有操作后，我转到角色的姿势，我使用转置大师。但有时我会立即把一个角色摆成一个姿势，以后很难在没有对称的情况下工作，但是这个角色越对称，他看起来越活泼，你必须同意。为了旋转身体部位，我使用Gizmo和面具，对我来说，使用它们比转置线更方便。我遮盖了需要在接头处转动的部分以及接头所在的位置。 After I put the character in the pose, I reduce the polygons using the Deсimation master and try to apply different subtools to different parts of the model. So that different materials can be applied to them. And after that, I group all the parts and export them to OBJ. 将角色放入姿势后，我使用 Deсimation 母版减少多边形，并尝试将不同的子工具应用于模型的不同部分。因此，可以将不同的材料应用于它们。之后，我对所有零件进行分组并将它们导出到OBJ。 RENDER I use Marmoset toolbag 4 for rendering, it is easy to use, and at the final stage, I get a very beautiful picture. I use at least 3 lights to convey the atmosphere. Usually, in all models I use 3 colors: blue, red and yellow, by making brighter a certain color, you can convey a certain mood to the character. 呈现 我使用Marmoset工具包4进行渲染，它易于使用，在最后阶段，我得到了一个非常漂亮的图片。我使用至少3盏灯来传达气氛。通常，在所有模型中，我都使用3种颜色：蓝色，红色和黄色，通过使某种颜色更亮，您可以向角色传达某种情绪。 I apply additional highlights to the skin and Subsurface Scattering. On the skin, I apply additional highlights and Subsurface Scattering to make the character look alive and not plastic. I don’t make the clothes completely matte, so that the feeling that this is still a model, and not a drawing, remains. In addition to rendering with textures, I do a white render in order to show details without color. 我对皮肤和次表面散射施加额外的高光。在皮肤上，我应用了额外的高光和次表面散射，使角色看起来活泼而不是塑料。我没有让衣服完全哑光，这样，这仍然是一个模型，而不是一幅画的感觉仍然存在。除了使用纹理进行渲染外，我还进行白色渲染，以便显示没有颜色的细节。 And finally, processing in Photoshop. I slightly change the color, add highlights, and additional details, in this case, it is the hair. I slightly change the color, add highlights, and additional details, in this case, it is the hair. 最后，在Photoshop中处理。我稍微改变颜色，添加高光，以及额外的细节，在这种情况下，它是头发。我稍微改变颜色，添加高光，以及额外的细节，在这种情况下，它是头发。 You can see the full workflow on my Youtube: 您可以在我的Youtube上看到完整的工作流程： I believe that you always need to focus on your inner feelings, and follow the concept, the main thing is to start, and the rest will come in the process of work. Thank you. 我相信你总是需要专注于你内心的感受，并遵循这个概念，最主要的是要开始，其余的都会在工作的过程中出现。 谢谢。
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