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Introduction
介绍
Hi, I am Kateryna Hrytsyshyna, a 3D Sculptor based in Ukraine. I got into 3D art accidentally 6 years ago: there was a 3D game project that needed a model, and I tried to do it myself and never left since. In these 6 years, I have tried a few branches in 3D: hard surface modeling for game dev, furniture for interior visualizations, VFX in Houdini for movies, and I finally stopped on 3D sculpting for figures and miniatures as my favorite one.
大家好，我是来自乌克兰的 3D 雕塑家 Kateryna Hrytsyshyna。我在 6 年前偶然接触了 3D 艺术：有一个 3D 游戏项目需要一个模型，我尝试自己做，从那以后就再也没有离开过。在这 6 年中，我尝试了 3D 的一些分支：用于游戏开发的硬表面建模、用于室内可视化的家具、用于电影的 Houdini 视觉特效，最后我停止了对人物和微缩模型的 3D 雕刻，这是我最喜欢的。
For the last three years, I have been doing this for freelance or contract jobs. During this time, I have made more than a hundred miniatures and figures. Regular and fast sculpting gave me some perks in developing skills. Usually, I prefer tutorials on YouTube to learn (except for Houdini, which was too hard to learn by myself.)
在过去的三年里，我一直在为自由职业者或合同工做这件事。在此期间，我制作了一百多个微缩模型和人物。定期和快速的雕刻给了我一些发展技能的好处。通常，我更喜欢 YouTube 上的教程来学习（除了 Houdini，它自己学起来太难了。）
Once, I got a request for miniature sculpting, and I really liked that type of project. My favorite thing in 3D has always been sculpting, it gives you the opportunity to just sculpt, no retopology needed, no UVs and textures, you focus on the main skill and develop it faster.
有一次，我收到了一个微型雕塑的请求，我真的很喜欢这种类型的项目。我在 3D 中最喜欢的东西一直是雕刻，它让您有机会进行雕刻，不需要重新拓扑，不需要 UV 和纹理，您可以专注于主要技能并更快地开发它。
Also, I am in love with seeing my works in physical form, when you can touch them and turn them in your hand. To me, 3D printing has become both my work and a hobby. I have worked on some Patreon projects, where each month a company releases a pack of prepared miniatures which people can print on their 3D printers, paint, and use for tabletop games. Now, I'm working at Broken Anvil Miniatures.
此外，我喜欢以实物形式看到我的作品，当你可以触摸它们并将它们放在手中时。对我来说，3D 打印已成为我的工作和爱好。我参与了一些 Patreon 项目，每个月都有一家公司发布一包准备好的微缩模型，人们可以在他们的 3D 打印机上打印、绘画和用于桌面游戏。现在，我在 Broken Anvil Miniatures 工作。
The Sculpting Workflow
雕刻工作流程
My workflow always has similar steps:
我的工作流程总是有类似的步骤：
Pose
姿势
Clothing, face, weapon blockout
服装、脸、武器封锁
Details
细节
I discuss each step with the customer because you usually make miniatures already standing in a pose, and you can't change the symmetry as easily as for models in the A pose. Here's more info about each step.
我会与客户讨论每个步骤，因为您通常会制作已经站立姿势的微缩模型，并且您无法像 A 姿势中的模型那样轻松更改对称性。这是有关每个步骤的更多信息。
I am a big fan of base meshes for body posing. For miniatures, it is very important to have the right consistent proportions. Usually, a 32mm scale is used, which means bigger hands, head, and feet, all features must be bigger to be visible on a ready print or cast. With the right base mesh, you can make a pose pretty fast, it's important to make it look good from different sides.
我是用于身体姿势的基础网格的忠实粉丝。对于微缩模型，保持正确一致的比例非常重要。通常使用 32 毫米的比例尺，这意味着更大的手、头和脚，所有特征必须更大才能在准备好的打印件或铸件上可见。使用正确的基础网格，您可以非常快速地做出姿势，重要的是要让它从不同的侧面看起来都很好。
For clothing, I usually use Marvelous Designer. After exporting a mesh to ZBrush, I add thickness to it, tweak it for a better look, and add or smooth out folds. Also, clothing can be made in ZBrush from scratch, it all depends on the design. I make hard surface objects in 3ds Max, I am just used to that software because I had to use it in previous jobs. With a face, I try to create a similar mood to the concept art I work with. You need to spend some time studying emotions references to sculpt them right.
对于服装，我通常使用 Marvelous Designer。将网格导出到 ZBrush 后，我为其添加厚度，调整它以获得更好的外观，并添加或平滑折叠。此外，服装可以在 ZBrush 中从头开始制作，这完全取决于设计。我在 3ds Max 中制作硬表面对象，我只是习惯了那个软件，因为我必须在以前的工作中使用它。用一张脸，我试图创造一种与我所使用的概念艺术相似的情绪。您需要花一些时间研究情感参考以正确雕刻它们。
Details will look good on a good blockout; in this stage, I add all the other elements I need: hair details, buttons, and other small things. For many of them, I use self-made brushes or I buy them in the ArtStation marketplace, for example, textures, stitches, small bones, scars, and so on. It saves a lot of time.
在良好的遮挡下，细节看起来不错；在这个阶段，我添加了我需要的所有其他元素：头发细节、纽扣和其他小东西。对于他们中的许多人，我使用自制的刷子或者我在 ArtStation 市场上购买它们，例如纹理、缝合、小骨头、疤痕等。它节省了很多时间。
My favorite brushes are the standard ones (Dam Standard, Move Topological, Clay Buildup, Insert Of Basic Geo Figures) and the famous Orb set. Very often, I use the Sculptris mode, it's just amazing for quick shaping without using DynaMesh and with a smaller polycount.
我最喜欢的画笔是标准画笔（水坝标准、移动拓扑、粘土堆积、基本地理图形插入）和著名的球体套装。很多时候，我使用 Sculptris 模式，它可以在不使用 DynaMesh 和更小的多边形数量的情况下快速成型。
Usually, you can spend 2-4 full days of work for one miniature, it depends on the design, scale, and the number of details in the concept art. Changing the pose often takes additional 1-2 days because apart from the pose it requires a change of the emotion, costume, or weapon, so you need to repeat the next two steps of the workflow with finished details.
通常，你可以为一个微缩模型花费 2-4 天的工作时间，这取决于概念艺术中的设计、规模和细节数量。更改姿势通常需要额外的 1-2 天，因为除了姿势之外，还需要更改情绪、服装或武器，因此您需要使用完成的细节重复工作流程的接下来两个步骤。
Timing is one of the reasons I like this branch of 3D, you spend less time on one model and have a high variety of designs, so it's much harder to be burned out or bored.
时间是我喜欢这个 3D 分支的原因之一，你在一个模型上花费的时间更少，并且设计种类繁多，所以更不容易被烧毁或无聊。
The Shrine Maiden Project
神社少女计划
Shrine Maiden is a piece from my work for Broken Anvil, so the idea of her creation wasn't mine. Her main reference was concept art, it was amazing, and I wanted to make it look as good as possible in 3D with all the requirements we have for a miniature.
Shrine Maiden 是我为 Broken Anvil 创作的作品，所以她创作的想法不是我的。她的主要参考是概念艺术，这太棒了，我想让它在 3D 中看起来尽可能好，满足我们对微缩模型的所有要求。
We can go and look at each step of work I had with her following my usual workflow.
我们可以按照我通常的工作流程去看看我和她一起工作的每一步。
1. In this stage, you can see that I focus just on the pose. Also, I check different sides of it to see if she has a nice silhouette.
1.在这个阶段，你可以看到我只关注姿势。另外，我检查它的不同侧面，看看她是否有一个漂亮的轮廓。
The forms are super basic, the hands are not posed yet in this stage because I can change hand position in the future.
形式是超级基本的，手在这个阶段还没有摆好，因为我将来可以改变手的位置。
2. I made some props in 3ds Max.
2.我在3ds Max中做了一些道具。
I also started to add basic clothing elements, posing hands, and working on her face.
我还开始添加基本的服装元素，摆姿势，并在她的脸上工作。
I continued to work on the clothes and added an umbrella. Here's stage two finalized:
我继续做衣服，加了一把雨伞。这是第二阶段完成的：
3. This stage can take more time, but if the blockout is right, it will increase the beauty. After finishing all the detailing, the model looks like this.
3.这个阶段可以花更多的时间，但是如果遮盖得当，会增加美感。完成所有细节后，模型看起来像这样。
I used Insert Mesh a lot here. Orb brushes for folds, Extract for making the belts and winding.
我在这里使用了很多插入网格。用于折叠的球刷，用于制作皮带和缠绕的提取物。
Making this model took me four working days, I really like her because I like the theme of the whole model pack.
制作这个模型花了我四个工作日，我真的很喜欢她，因为我喜欢整个模型包的主题。
Conclusion
结论
While you're working on a model, you need to keep in mind all the requirements for 3D printing. Depending on the scale, you need to keep the thickness wide enough to print and not let any voids be present in the model, it can ruin the print in the future. Usually, miniature clothing doesn't have many extruded patterns, so a painter can create their own patterns on the umbrella and the skirt, for example. It's awesome that one miniature can look very different in each painter's hands, and it's a joy to me to see it in color.
在制作模型时，您需要牢记 3D 打印的所有要求。根据比例，您需要保持足够宽的厚度以进行打印，并且不要让模型中出现任何空隙，否则将来可能会破坏打印。通常，微型服装没有很多挤压图案，因此画家可以在雨伞和裙子上创建自己的图案。一个缩影在每个画家的手中看起来都非常不同，这真是太棒了，我很高兴看到它的颜色。
For me, the most resultative exercise was speed sculpts, it's when you take a concept and do the maximum work on it in 3-6 hours. Each time it's a new concept. Such a method really improves your vision and skill much faster. I saw a lot of cases when beginner artists were stuck on one training model for too long, sometimes for a year or two, just because they were never satisfied with it, so don't be afraid to move on. Practice makes perfect.
对我来说，最有成效的练习是速度塑形，这是当你接受一个概念并在 3-6 小时内完成最大的工作时。每次都是一个新概念。这种方法确实可以更快地提高您的视力和技能。我看到很多新手艺术家被困在一个训练模型上太久，有时是一两年，只是因为他们从不满足，所以不要害怕继续前进。熟能生巧。
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