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Introduction
介绍
Hello, my name is Mike and I am a Character Artist at Amazon Games. At the time of the course I was working as a Outsource Integration Artist. I signed up for the Creature Course to improve my skills as an artist and make the transition to becoming a 3D character artist. I had taken a Character Artist course with Marcin at Vertex School previously (more on that in the next section), so I already knew the quality of the course and the instructor based on how much the first course helped me develop.
你好，我叫 Mike，是 Amazon Games 的角色艺术家。在课程期间，我担任外包集成艺术家。我报名参加了 Creature Course 以提高我作为艺术家的技能并过渡到成为 3D 角色艺术家。我之前曾在 Vertex School 与 Marcin 一起参加过角色艺术家课程（下一节将详细介绍），所以我已经知道课程的质量和讲师基于第一门课程帮助我发展的程度。
Enrolling at Vertex School is very easy. The course syllabus is listed for each course on the website. For the first course, I found the correct course then applied. Shortly thereafter I had a quick interview with the Vertex team to make sure my ability fit the course's educational level. After that you get pulled into the community where you get frequent updates and can post for feedback and review. Those updates are how I found out about the creature course.
在 Vertex School 注册非常容易。网站上列出了每门课程的课程大纲。对于第一门课程，我找到了正确的课程然后申请了。此后不久，我与 Vertex 团队进行了一次快速面试，以确保我的能力符合课程的教育水平。之后，您会被拉入社区，在那里您可以获得频繁的更新，并可以发布以获取反馈和审查。这些更新是我发现生物课程的方式。
Since I was already a graduate of Vertex, I had to apply once the course was launched, no interview this time around. To recap, I originally took the creature course with Marcin to transition to a character artist position and as you can see by my introduction, this course/creature did in fact improve my portfolio and helped me become a Character Artist.
由于我已经是Vertex的毕业生，所以课程一开课就必须申请，这次没有面试。回顾一下，我最初与 Marcin 一起参加了生物课程以过渡到角色艺术家的职位，正如您在我的介绍中看到的那样，这门课程/生物实际上确实改善了我的作品集并帮助我成为了角色艺术家。
Course Organization
课程组织
The Creature Course was a 10-week course that convened on Saturdays for video lectures/conferences. The course was a mixture of Marcin showcasing a detailed walkthrough of creating a creature from beginning to end as well as critique and Q & A sessions. Each student would create their own creature and stay on the curriculum's development path with Marcin and his character. There was the option to submit progress between classes on the class forum. This was an opportunity to get additional feedback from Marcin as well as the other artists enrolled in the course. The course’s weekend format was extremely convenient, as I have a full-time job in the industry and freelance as well. In my opinion, the constructive critique sessions with Marcin were the highlight of the course. He would offer multiple points of view and suggest possible changes. He ensured that creative control of the creature was still in the student’s hand, while simultaneously suggesting multiple adjustments to enhance the student’s vision and direction.
生物课程是一个为期 10 周的课程，每周六召开视频讲座/会议。该课程混合了 Marcin 展示了从头到尾创建生物的详细演练以及评论和问答环节。每个学生都将创造自己的生物，并与 Marcin 和他的角色一起走在课程发展的道路上。可以选择在班级论坛上提交班级之间的进度。这是一个从 Marcin 以及参加该课程的其他艺术家那里获得额外反馈的机会。该课程的周末形式非常方便，因为我在该行业有一份全职工作，同时也是自由职业者。在我看来，与 Marcin 的建设性批评会议是课程的亮点。他会提供多种观点并提出可能的改变。
The Bat Creature Project
蝙蝠生物计划
I initially didn't have a firm decision on what direction I wanted to go. I chose three different types of creatures: a bat-type creature, a chimera-type creature, and a troll/orc-type creature. I pulled base references for each and did some exploratory sculpting. This was mainly shape and form exploration. The bat-type creature appealed to me the most, so I began collecting additional reference and began planning out the process.
起初，我并没有明确决定我想往哪个方向走。我选择了三种不同类型的生物：蝙蝠型生物、嵌合体型生物和巨魔/兽人型生物。我为每个人提取了基础参考并进行了一些探索性雕刻。这主要是形状和形式的探索。蝙蝠类型的生物最吸引我，所以我开始收集额外的参考资料并开始计划这个过程。
Reference
参考
I broke my initial reference into three main categories. My reference list expanded and shrank depending on what I was working on and what phase of development I was in. The below image is my initial reference before I started sculpting.
我将我最初的参考资料分为三个主要类别。我的参考列表根据我的工作内容和我所处的开发阶段扩大和缩小。下图是我开始雕刻之前的初始参考。
Red: First, I wanted to research existing takes on bat creatures. I also needed to better understand different species of bats, bat anatomy, and creatures that inspired me like the star-nosed mole. I also used Wyverns as a reference for the arm/wing similarities. The more references the better.
Red：首先，我想研究现有的蝙蝠生物。我还需要更好地了解不同种类的蝙蝠、蝙蝠的解剖结构，以及像星鼻鼹鼠这样启发我的生物。我还使用 Wyverns 作为手臂/翅膀相似性的参考。参考文献越多越好。
Green: I needed realistic human anatomy. I always have books on my computer as well. Anatomy for 3D Artists and Anatomy for Sculptors are a few of my go-to books. My realistic anatomy reference ranged from bodybuilders for muscle placement/striations to historical images to see how skin interacts with bone and muscle in a state of starvation.
格林：我需要逼真的人体解剖学。我的电脑上也总是有书。3D 艺术家解剖学和雕塑家解剖学是我的一些必读书籍。我的现实解剖参考范围从健美运动员的肌肉放置/条纹到历史图像，以了解皮肤在饥饿状态下如何与骨骼和肌肉相互作用。
Blue: I always have exaggerated examples as well. These exaggerated examples showcase how light plays with muscle, bone, and skin.
Blue：我也总是有一些夸张的例子。这些夸张的例子展示了光如何与肌肉、骨骼和皮肤相互作用。
Approach to Bat Creature
接近蝙蝠生物
The anatomy of the bat creature was the focal point of this project. I knew that if I wanted this to be a believable creature that its anatomy would have to be front and center. For me, to create a believable creature, I needed to create a backstory. I had to design a world and environment that this creature would inhabit. I needed to know what this creature would eat, how it hunted, and how it would attack. These decisions led to the anatomical designs and the reference selected. Once I gave the creature all of the world-building information, I was able to make creative decisions regarding its anatomy. Since the creature lived and hunted in an underground labyrinth of caves, it would be very thin because the food was scarce. The creature would have evolved to lose its eyesight and eventually its eyes completely. It would have large ears, and a motion-sensitive nose because hunting in the dark would require these enhanced senses.
蝙蝠生物的解剖结构是该项目的重点。我知道，如果我想让它成为一个可信的生物，它的解剖结构就必须放在前面和中心。对我来说，为了创造一个可信的生物，我需要创造一个背景故事。我必须设计一个这个生物可以居住的世界和环境。我需要知道这个生物会吃什么，它如何捕猎，以及它会如何攻击。这些决定导致了解剖设计和选择的参考。一旦我向这个生物提供了所有构建世界的信息，我就能够就它的解剖结构做出创造性的决定。由于这种生物在地下迷宫般的洞穴中生活和捕猎，由于食物稀缺，它会很瘦。这种生物会进化到失去视力，最终完全失去眼睛。它会有大耳朵，
Micro Skin Details
微皮肤细节
The creature’s skin and surface details were created using both ZBrush and Marmoset Toolbag 4. In ZBrush, I took a 5-step process to create the micro skin details. Note: I would jump back and forth throughout this process as necessary to achieve the right look. .
该生物的皮肤和表面细节是使用 ZBrush 和 Marmoset Toolbag 4 创建的。在 ZBrush 中，我采取了 5 个步骤来创建微皮肤细节。注意：我会根据需要在整个过程中来回跳跃以获得正确的外观。
Step 1: Primary and Secondary Shapes
第 1 步：主要和次要形状
I ensured that muscle mass, muscle definition, skin folds, and veins existed prior to jumping into surface detail. This is super important–having the underlying anatomy and skin in place will do a lot of heavy lifting when it comes to the skin detailing.
在进入表面细节之前，我确保了肌肉质量、肌肉定义、皮肤褶皱和静脉存在。这是非常重要的——当涉及到皮肤细节时，将底层的解剖结构和皮肤放在适当的位置会做很多繁重的工作。
Step 2: Skin Patterning
第 2 步：皮肤图案
Marcin demonstrated this technique for the class and I absolutely love it. I started with the Standard brush, selected spray in the stroke menu, then selected an alpha (in this case it’s alpha 60). Lower the intensity to 2-10 and adjust the brush size to your liking. Create a layer, hold alt (sub) and do cyclical strokes with your stylus. The goal here is not to create skin, just create noise so your mind can start to see skin shapes. I related this to looking at clouds, your imagination will give shape and form to the noise.
Marcin 在课堂上展示了这种技术，我非常喜欢它。我从标准画笔开始，在笔触菜单中选择喷雾，然后选择一个 alpha（在本例中为 alpha 60）。将强度降低到 2-10 并根据自己的喜好调整画笔大小。创建一个图层，按住 alt (sub) 并用您的手写笔进行循环描边。这里的目标不是创造皮肤，只是创造噪音，这样你的大脑就可以开始看到皮肤的形状。我把这与看云联系起来，你的想象力会给噪音赋予形状和形式。
Step 3: Skin Reference and Alphas
第 3 步：皮肤参考和 Alphas
I researched what kind of skin I wanted on which portions of the body. For example, I wanted harder, cracked, leathery skin on the back and chest and supple leathery skin for the wings. I took hi-res leathery skin references and turned them into circular alphas that become more transparent towards the edges. On a separate layer, I used the standard brush, selected drag rec in the stroke menu, applied the desired alpha, and adjusted the alpha’s Mid Value to remove large clay movement and only keep the fine detail.
我研究了我想要什么样的皮肤在身体的哪些部位。例如，我想要背部和胸部更硬、有裂痕的革质皮肤，以及翅膀的柔软革质皮肤。我采用了高分辨率的皮革皮肤参考，并将它们变成了圆形 alpha，使边缘变得更加透明。在一个单独的图层上，我使用标准画笔，在笔触菜单中选择拖动记录，应用所需的 alpha，并调整 alpha 的 Mid Value 以消除大的粘土运动，只保留精细的细节。
Step 4: Emphasizing Height and Depth
第 4 步：强调高度和深度
Marcin demonstrated this and he also put a lot of emphasis on this step. After I applied the surface detail, I enhanced the skin and made it more three-dimensional (in a separate layer, of course). This is extremely time-consuming but is completely worth it. In this phase, I mainly used dam standard, standard, move, and clay buildup. I would look at the skin at a medium distance and use the dam standard to carve deeper cuts into the patterns from steps 2 and 3 into the leathery skin. I would also move muscles around and use Clay Buildup to develop height where necessary. I enhanced skin folds and wrinkles, muscle striations, veins, skin tension areas, etc. This is what makes the character’s skin believable at a game distance. These “more” three-dimensional skin attributes can be read at a mid-distance which gives a better internal shape structure when compared to just surface noise alone.
Marcin 证明了这一点，他也非常重视这一步。应用表面细节后，我增强了皮肤并使其更具立体感（当然，在单独的层中）。这非常耗时，但完全值得。在这个阶段，我主要使用了大坝标准、标准、移动和粘土堆积。我会在中等距离观察皮肤，然后使用大坝标准将步骤 2 和步骤 3 中的图案雕刻成更深的切口到皮革状皮肤上。我还会四处移动肌肉，并在必要时使用 Clay Buildup 来增加身高。我增强了皮肤褶皱和皱纹、肌肉条纹、静脉、皮肤紧张区域等。这就是使角色的皮肤在游戏距离上可信的原因。
Step 5: Skin Uniqueness
第 5 步：皮肤独特性
I always do one final adjustment when I think I am done with skin texturing. I selected the standard brush and chose spray in the stroke menu and turned off the alpha. I set the stroke placement to 1. I adjusted the size of the brush (from big to small) and painted over the entire model. This creates uneven and lumpy skin. This can be procedurally done in the noise menu. However, I always like to do this part by hand. I sculpted layers with higher intensity, then brought down the intensity of the overall layer to my liking. My goal is for this to break up the skin's surface without affecting the skin texture. I like to think of it as subtle skin waves.
当我认为我完成了皮肤纹理处理时，我总是会进行最后一次调整。我选择了标准画笔并在笔触菜单中选择了喷雾并关闭了 alpha。我将笔触位置设置为 1。我调整了画笔的大小（从大到小）并在整个模型上进行绘制。这会产生不均匀和块状的皮肤。这可以在噪声菜单中按程序完成。但是，我总是喜欢手工完成这部分。我雕刻了更高强度的图层，然后根据我的喜好降低整个图层的强度。我的目标是在不影响皮肤纹理的情况下分解皮肤表面。我喜欢把它想象成微妙的皮肤波。
Note: Marcin always said don't be afraid to destroy the skin. Iteration is key, smoothing, sculpting over previous sculpts, and re-engaging is essential. ‘It's ok to get messy’ was a key takeaway for me.
注意： Marcin 总是说不要害怕破坏皮肤。迭代是关键，平滑，雕刻之前的雕刻，重新参与是必不可少的。“弄脏没关系”对我来说是一个重要的收获。
Marmoset Toolbag 4 Process
Marmoset Toolbag 4 过程
Step 1: I applied an already existing skin material that had some height information. This gave me a base to work from.
第 1 步：我应用了一个已经存在的具有一些高度信息的皮肤材料。这给了我工作的基础。
Step 2: I hand-painted more height details to emphasize specific parts (like the veins).
第 2 步：我手绘了更多高度细节以强调特定部分（如静脉）。
Step 3: I used a Curvature mask on a fill layer to increase the depth and color of the cavities.
第 3 步：我在填充层上使用曲率蒙版来增加空腔的深度和颜色。
Step 4: I used a detail Normal Map to add variation to the skin and create a more interesting interaction with the light. This step was done after the texturing.
第 4 步：我使用细节法线贴图为皮肤添加变化，并创建更有趣的灯光交互。这一步是在纹理化之后完成的。
Retopology
重新拓扑
To prepare this model for retopology, I separated the bat creature into body, claws, and teeth in ZBrush. From here I duplicated and ZRemeshed the claws and teeth. Then I subdivided and projected the information from the pre-ZRemeshed model to the ZRemeshed model. This gave me a workable topology for the claws and teeth. For the body, I decimated the model and exported it to Maya for retopology. I hand retopologized the model using quad draw. My intent was to keep the creature under 50K polygons. The model ended up being 46912. I wanted the primary shapes and silhouettes captured in the low poly geometry. My intent was to have the Normal Map handle surface-level detail, not large-scale height and depth information.
为了准备这个重新拓扑模型，我在 ZBrush 中将蝙蝠生物分成身体、爪子和牙齿。从这里我复制并ZRemeshed爪子和牙齿。然后我将pre-ZRemeshed模型的信息细分并投影到ZRemeshed模型。这为我的爪子和牙齿提供了一个可行的拓扑结构。对于身体，我抽取了模型并将其导出到 Maya 进行重新拓扑。我使用四边形绘制手动重新拓扑模型。我的意图是将生物保持在 50K 多边形以下。该模型最终是 46912。我想要在低多边形几何中捕获的主要形状和轮廓。我的意图是让法线贴图处理表面细节，而不是大比例的高度和深度信息。
Wings in general add a lot of geometry that coalesce into very dense areas, like the hands. For these areas, I try to have EdgeLoops that run around the webbing between the fingers. This allows the topology to loop in the webbing without running into the hand. In addition, I still had to terminate EdgeLoops on the top of the hand to remove extraneous EdgeLoops because the wings are triangle-shaped.
翅膀通常会添加许多几何图形，这些几何图形会合并成非常密集的区域，例如手。对于这些区域，我尝试让 EdgeLoops 围绕手指之间的织带运行。这允许拓扑结构在织带中循环，而不会碰到手。此外，我仍然必须在手的顶部终止 EdgeLoops 以去除多余的 EdgeLoops，因为翅膀是三角形的。
Another area that had to have extensive EdgeLoop termination was the jowl detail: the face and connective tissue between the jaws did not supply the necessary topology to get a solid bake in the jowl detail. This process consisted of a lot of trial and error. I would adjust the topology density then bake, review the bake quality, and do it again until all bake details were captured correctly.
另一个必须有大量 EdgeLoop 端接的区域是下颌细节：下颌之间的面部和结缔组织没有提供必要的拓扑结构，无法在下颌细节中获得坚实的烘烤。这个过程包括大量的反复试验。我会调整拓扑密度，然后烘焙，检查烘焙质量，然后再做一次，直到正确捕获所有烘焙细节。
For UVing the creature, I cut along major anatomical shapes. I made sure that the texel density was even on the body. I tried to keep the UV sections vertical or horizontal. I was not too concerned with seams. Most modern engines and texturing softwares are good at blending textures over seams. That stated, I always double-check my assets in multiple lighting environments and engines to ensure seams are not visible. If the seams are visible, I remap the UVs with the seams in hidden areas not regularly seen by the camera.
为了对生物进行紫外线照射，我沿着主要的解剖形状进行切割。我确保纹素密度在身体上是均匀的。我试图保持 UV 部分垂直或水平。我不太关心接缝。大多数现代引擎和纹理软件都擅长在接缝处混合纹理。也就是说，我总是在多个照明环境和引擎中仔细检查我的资产，以确保接缝不可见。如果接缝可见，我会在相机不经常看到的隐藏区域重新映射 UV 和接缝。
Texturing
纹理
This was the first time I had textured a full character in Marmoset Toolbag 4’s texturing suite so there was a lot of trial and error, as well as experimentation. Every single step and example below was done in a non-destructive way, which means I used fill layers with masks. I also used Marmoset’s ray tracing feature which is a mixture of real-time rendering and ray-traced rendering. This means after I made an adjustment I had to wait a couple of seconds for the render to complete to review the final results. On a separate note, it was extremely nice to texture in the same software I was rendering in. My process for this creature was as follows:
这是我第一次在 Marmoset Toolbag 4 的纹理套件中对完整角色进行纹理处理，因此进行了大量的试验和错误以及实验。下面的每个步骤和示例都是以非破坏性方式完成的，这意味着我使用了带有蒙版的填充层。我还使用了 Marmoset 的光线追踪功能，它混合了实时渲染和光线追踪渲染。这意味着在我进行调整后，我必须等待几秒钟才能完成渲染以查看最终结果。另外，在我渲染的同一个软件中纹理非常好。我对这个生物的处理如下：
Step 1: Base Layers
第 1 步：基础层
I applied a base color fill layer, base skin material, a roughness layer, and a Cavity Map to the material, as well as a Volumetric Scattering layer. I was not worried about subtle or even large-scale color changes. This was about the skin reading as skin. At that moment, I was not worried about the intensity of the Volumetric Scattering on the wings or ears, that would come later.
我在材质上应用了基础颜色填充层、基础皮肤材质、粗糙度层和空腔贴图，以及体积散射层。我并不担心细微甚至大规模的颜色变化。这是关于将皮肤解读为皮肤的问题。那一刻，我并不担心体积散射在翅膀或耳朵上的强度，那会在以后发生。
Step 2: Gradients
第 2 步：渐变
Marcin suggested that I start with gradients so I applied a number of gradients to the creature. Starting with a top-down and a bottom-up. This made the creature lighter up top and darker down low. Then, I added sectional gradients to the creature. This would include varying colors to represent areas where blood flow would be closer to the surface (wings, arms, head, ears, etc.). Then I did internal top-down gradients for individual body parts(wings, the body, the ears, etc.). This would give each component of the creature a unique feel.
Marcin 建议我从渐变开始，所以我对这个生物应用了许多渐变。从自上而下和自下而上开始。这使得该生物顶部较浅，底部较暗。然后，我为这个生物添加了截面渐变。这将包括用不同的颜色来表示血流更接近表面的区域（翅膀、手臂、头部、耳朵等）。然后我对各个身体部位（翅膀、身体、耳朵等）进行了内部自上而下的渐变。这会给生物的每个组成部分带来独特的感觉。
Step 3: Procedural Skin Breakup
第 3 步：程序性皮肤分解
For this step, I used Marmoset’s equivalent to Substance generators. I used various noise and dirt Maps of varying scale (large to small) and color (light to dark) to create a base-level skin breakup. I would also use curvature (small to large) with varying intensity and blending types to enhance the recessed skin and pore detail. The goal here is not to have a unique skin breakup but a general skin breakup.
在这一步中，我使用了 Marmoset 的 Substance 生成器。我使用了不同比例（从大到小）和颜色（从浅到深）的各种噪点和污垢贴图来创建基础级皮肤分解。我还将使用具有不同强度和混合类型的曲率（从小到大）来增强凹陷的皮肤和毛孔细节。这里的目标不是进行独特的皮肤分解，而是进行一般的皮肤分解。
Step 4: Major Color Variation (hand-painted)
第 4 步：主要颜色变化（手绘）
Here, I hand-painted masks that handled color and Volumetric Scattering. I cranked the material scattering from 1-2, which I used for human skin, to 15, which creates the intense scattering in the wings. I used masks to bring the non-translucent skin back to normal scattering levels. This is also where I added the yellow and the lighter, warmer colors to the wings and ears. I used Overlay or Soft Light as the Blending mode and duplicated the layer for intensity. This allowed the procedural skin break-up to show through slightly.
在这里，我手绘了处理颜色和体积散射的蒙版。我将材质散射从用于人体皮肤的 1-2 调到 15，这会在机翼中产生强烈的散射。我使用遮罩将非半透明皮肤恢复到正常的散射水平。这也是我在翅膀和耳朵上添加黄色和更浅、更暖的颜色的地方。我使用叠加或柔光作为混合模式并复制图层以获得强度。这使得程序性皮肤破裂可以稍微显示出来。
Step 5: Minor Color Variation (hand-painted)
第 5 步：轻微颜色变化（手绘）
For this step, I would repeat the previous step but with a focus on hand-painted smaller areas. The difference between the cheeks and jaw or scapula and back for instance. As an example, I would paint warmer colors starting from yellow, to orange, to red (to build up color) on areas where the skin is stretched tightly over bone like the scapula, the collar bone, elbows, iliac crest, etc., while painting cooler purples on the large faces of the body. This is also where I added analogous colors for the sensitive areas. Since the creature has a lot of purple, I used pink and lighter purples to handle wings, nose, and mouth. This keeps the color palette similar. My goal was to have my primary and secondary colors be complementary while having some analogous colors as the tertiary details like the nose, ears, wings, etc.
对于这一步，我将重复上一步，但重点是手绘较小的区域。例如，脸颊和下巴或肩胛骨和背部之间的差异。例如，我会在皮肤紧贴骨骼的区域（如肩胛骨、锁骨、肘部、髂嵴等）绘制从黄色到橙色到红色（以增加颜色）的暖色，同时在身体的大脸上涂上较冷的紫色。这也是我为敏感区域添加类似颜色的地方。由于这个生物有很多紫色，我用粉红色和浅紫色来处理翅膀、鼻子和嘴巴。这使调色板保持相似。我的目标是让我的主要颜色和次要颜色互补，同时具有一些类似的颜色作为第三细节，如鼻子、耳朵、翅膀等。
Step 6: Additional Skin Detail (hand-painted)
第 6 步：附加皮肤细节（手绘）
This is where I did a deep dive into hand-painting. This is the fine detail and unique skin surfacing that the procedural generators cannot give you. I added varying levels of blur, intensity, and blending modes to achieve what I was looking for. I also painted subtle blurred darkness between primary muscle groups to help differentiate the muscles. I added the color variation for the scarring and damage to the skin. Finally, I would make sure to blend all of these areas together. Everything should have a color transition between them. For example, the bone color of the claw should not run directly into the skin of the finger.
这是我深入研究手绘的地方。这是程序生成器无法提供的精细细节和独特的皮肤表面。我添加了不同程度的模糊、强度和混合模式来实现我想要的效果。我还在主要肌肉群之间绘制了微妙的模糊黑暗，以帮助区分肌肉。我为疤痕和皮肤损伤添加了颜色变化。最后，我会确保将所有这些领域融合在一起。一切都应该在它们之间有颜色过渡。例如，爪子的骨头颜色不应该直接进入手指的皮肤。
Step 7: Roughness
第 7 步：粗糙度
For the roughness, I enhanced the Cavity Map with a curvature layer to make the recessed portions of the skin less shiny. From there I added a couple of subtle noise generators to add variation to the roughness on the skin. Afterward, I applied some hand-painted roughness with a dirt brush to make sure specific elements behave correctly in the light. While this process is not realistic, it looks great on some characters.
对于粗糙度，我使用曲率层增强了 Cavity Map，以使皮肤的凹陷部分不那么闪亮。从那里我添加了几个细微的噪声发生器来增加皮肤粗糙度的变化。之后，我用泥刷涂抹了一些手绘粗糙度，以确保特定元素在光线下表现正确。虽然这个过程不现实，但在某些角色上看起来很棒。
Step 8: Dirt
第8步：污垢
I added both procedurally generated dirt layers as well as hand-painted dirt layers. This is always my last step. I want the character’s colors and roughness to hold up regardless of the environmental impact.
我添加了程序生成的污垢层和手绘污垢层。这永远是我的最后一步。无论环境影响如何，我都希望角色的颜色和粗糙度能够保持不变。
Bonus: Marcin suggested this in my first course with him. I took the green channel of the Normal Map and copied it. I brought it into Marmoset and set it as a color fill layer. I turned the blend mode to overlay and reduced its opacity to 10-20%. This gave a bit of baked lighting information and self shadows the creature. This is extremely subtle but makes the creature pop!
奖励： Marcin 在我与他的第一门课程中建议了这一点。我拿了法线贴图的绿色通道并复制了它。我把它带入狨猴并将其设置为颜色填充层。我将混合模式转为叠加，并将其不透明度降低到 10-20%。这提供了一些烘焙照明信息和生物的自身阴影。这是非常微妙的，但使生物流行！
Final Presentation
最终报告
Posing
摆姿势
I used the transpose master in ZBrush to pose the creature. Marcin emphasized that the pose of this creature was essential. A lot of effort was put into the creature's anatomical silhouette so it made sense that its pose created a unique silhouette as well.
我使用 ZBrush 中的转置大师来摆姿势。Marcin 强调，这种生物的姿势至关重要。在这个生物的解剖轮廓上付出了很多努力，所以它的姿势也创造了一个独特的轮廓是有道理的。
Volumetric Scattering
体积散射
I initially used SubSurface Scattering; however, Marcin suggested that I use Volumetric Scattering since I was using Marmoset’s new ray-traced lighting and reflection enhancement. I cranked the material Volumetric Scattering to 15 to allow light to shine through the thin parts of the creature. I used masks to bring the thicker skin areas and veins back to believable levels.
我最初使用的是 SubSurface Scattering；但是，Marcin 建议我使用体积散射，因为我使用的是 Marmoset 的新光线追踪照明和反射增强功能。我将材质 Volumetric Sc​​attering 调到 15，让光线透过生物的薄部分。我使用面膜将较厚的皮肤区域和静脉恢复到可信的水平。
Marmoset Post Production
狨猴后期制作
The biggest factor here is that I was using ray-tracing. This means I didn’t adjust the AO and didn't have to hand paint additional AO as much as I would have in real-time render. I used Hejl for tone mapping, a contrast value of 1.01, and zero grain.
这里最大的因素是我使用了光线追踪。这意味着我没有调整 AO，也不必像在实时渲染中那样手动绘制额外的 AO。我使用 Hejl 进行色调映射，对比度值为 1.01，颗粒为零。
Dust
灰尘
For the dust, I created small polygon planes and randomly placed them around the creature in Maya. I duplicated the group and rotated. I used a script to randomly select a percentage of the planes and adjusted the scales. I used a dust image and created a normal map for it in Photoshop. I then combined the dust and brought it into Marmoset. I added the color map and normal map. I adjusted the transparency accordingly. This effect can be hand-painted in Photoshop as well.
对于灰尘，我创建了小的多边形平面并随机将它们放置在 Maya 中的生物周围。我复制了这个组并旋转了。我使用脚本随机选择一定百分比的平面并调整比例。我使用灰尘图像并在 Photoshop 中为其创建了法线贴图。然后我把灰尘混合起来，把它带到狨猴身上。我添加了颜色贴图和法线贴图。我相应地调整了透明度。这种效果也可以在 Photoshop 中手绘。
Photoshop Post Processing
Photoshop 后期处理
The smoke and embers were added via a Screen Blend mode and fair use images. I added a subtle streak of light from the top left to the bottom right on the final rendered image. I added a semi-transparent grain and vignette to the image (all of which could have been done in Marmoset’s post-processing stack).
烟雾和余烬是通过屏幕混合模式和合理使用图像添加的。我在最终渲染的图像上从左上角到右下角添加了一条微妙的光带。我在图像中添加了一个半透明的颗粒和晕影（所有这些都可以在 Marmoset 的后处理堆栈中完成）。
Lighting
灯光
I did a custom lighting setup for each camera in the scene. Marcin suggested that I take a dynamic lighting approach that borrows from Baroque lighting. Baroque-inspired lighting was a great choice for this creature, the tenebrism makes for a dynamic and dangerous-looking creature.
我为场景中的每个摄像机进行了自定义照明设置。Marcin 建议我采用借鉴巴洛克照明的动态照明方法。巴洛克风格的照明是这种生物的绝佳选择，这种色调使这种生物充满活力且看起来很危险。
Lighting Setup
照明设置
The lighting setup I used for this creature makes for good renders. However, it is not ideal for in-game lighting as I have light sources at different heights and locations throughout the scene. For ease of digestion, I will classify my lighting groups (in three-point lighting terms) as Main, Fill, and Rim.
我为这个生物使用的照明设置可以很好地渲染。但是，它不适合游戏中的照明，因为我在整个场景中的不同高度和位置都有光源。为了便于理解，我将我的照明组（以三点照明术语）分类为 Main、Fill 和 Rim。
Main Lighting
主照明
My main lighting group highlights the key features to which I wanted to draw attention. Here, I have a head and sternum light, a body light, and an arm light. My main lights were warmer in color with the exception of the head light which had a slight blue tint so as not to influence the yellow on the collar bone.
我的主要照明组突出了我想引起注意的关键特征。在这里，我有一个头和胸骨灯、一个身体灯和一个手臂灯。我的主灯颜色较暖，除了头灯有轻微的蓝色，以免影响锁骨上的黄色。
Head, Head + Body, Head + Body + Arm:
头部、头部 + 身体、头部 + 身体 + 手臂：
1 of 3：
1 个，共3 个：
Fill Lighting
补光
Here, I used cooler colors to highlight the areas not lit by the main group. My lights consisted of rear leg light, secondary face light, wing light, and backlight.
在这里，我使用较冷的颜色来突出主要组未照亮的区域。我的灯由后腿灯、辅助面灯、机翼灯和背光灯组成。
Rear Leg, Rear Leg + Face, Rear Leg + Face + Wing + Back:
后腿、后腿 + 面部、后腿 + 面部 + 机翼 + 背部：
1 of 3：
1 个，共3 个：
Rim Lighting
边缘照明
Here, I placed lights that would backlight or create a rim around the creature. The goal with the rim group is to engage the Volumetric Scattering and light the edge/silhouette of the creature.
在这里，我放置了可以背光或在生物周围形成边缘的灯光。边缘组的目标是使用体积散射并照亮生物的边缘/轮廓。
SSS, SSS + Back, SSS + Back + Shoulder Blade:
SSS、SSS + 背部、SSS + 背部 + 肩胛骨：
1 of 3：
1 个，共3 个：
Conclusion
结论
This course definitely had an effect on my workflow. There was not an overarching ‘eureka moment’ that changed the way I worked. Instead, there were small learnings throughout each phase: pointers on tool usage and quick iteration in the blockout phase, tutelage concerning extrapolating base level skin detail from noise, distinct guidance, and experimentation during the dynamic Baroque-Esque lighting setup. All of these small pointers, tricks, and critiques from Marcin culminated in a creature that is the capstone to my portfolio. I have used many of the things Marcin went over in both my personal and professional work.
这门课程肯定对我的工作流程产生了影响。没有一个重要的“尤里卡时刻”改变了我的工作方式。相反，在每个阶段都有一些小的学习：关于工具使用的指针和封锁阶段的快速迭代，关于从噪声中推断基础级别皮肤细节的指导，不同的指导，以及动态巴洛克式照明设置期间的实验。所有这些来自 Marcin 的小建议、技巧和批评最终形成了一个生物，它是我投资组合的顶峰。Marcin 在我的个人和专业工作中都使用了许多东西。
Marcin as an Instructor
Marcin 作为讲师
Marcin is a great artist, mentor, and teacher. He would regularly stay after the allotted course time to help students with questions, tutorials, and even sculpt-overs. He was fully engaged and put in extra time and effort throughout every portion of the class. His experience coupled with his ability to clearly and concisely communicate definitely helped elevate my creature to new heights. I would highly suggest that anyone, regardless of experience, check out a class with Marcin at Vertex School. I know that, without a doubt, Vertex School and Marcin Klicki have had a direct impact on my skill level and aided in my journey to become a AAA Character Artist. A journey that was just realized after years of effort and work.
Marcin 是一位伟大的艺术家、导师和老师。在分配的课程时间之后，他会定期留下来帮助学生解决问题、辅导甚至雕刻。他全神贯注，在课堂的每个部分都投入了额外的时间和精力。他的经验加上他清晰简洁的沟通能力无疑帮助我将我的生物提升到了新的高度。我强烈建议任何人，无论经验如何，都可以在 Vertex School 参加 Marcin 的课程。我知道，毫无疑问，Vertex School 和 Marcin Klicki 对我的技能水平产生了直接影响，并帮助我成为一名 AAA 角色艺术家。经过多年的努力和工作才实现的旅程。
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