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Goals
My goal with this project is to create a likeness portrait of the Jacob Batalon as Doctor Strange. Ultimately I want this piece to be more artistic rather than technical, I tried to keep the workflow as simple as possible and not too overly complicated with many different software and technique. Mostly I intended to have fun as a project which I do on the side between work.
目标
我这个项目的目标是创建一个雅各布·巴塔隆（Jacob Batalon）作为奇异博士的肖像。最终，我希望这件作品更具艺术性而不是技术性，我试图保持工作流程尽可能简单，并且不会使用许多不同的软件和技术过于复杂。大多数情况下，我打算在工作之间做一个项目，作为一个项目来玩得开心。
Software
My main sculpting tool in ZBrush. For texturing, I use Substance 3D Painter and I render the model using Vray for Maya.
软件
我在ZBrush中的主要雕刻工具。对于纹理，我使用Substance 3D Painter，并使用Vray for Maya渲染模型。
References & Inspiration
参考和灵感
My inspiration came from watching Spider-Man: No Way Home. Seeing Ned with the cape and with his abilities to use magic made me think what if he was Doctor Strange in some other universe. After seeing the movie my goal was to do his portrait and finish it by the time Doctor Strange in the Multiverse of Madness was released.
我的灵感来自看《蜘蛛侠：回家的路》。看到奈德带着斗篷和他使用魔法的能力，让我想，如果他是其他宇宙中的奇异博士会怎么样。看完这部电影后，我的目标是做他的肖像，并在《疯狂的多元宇宙》上映时完成它。
Cloth Modelling
布料建模
All of the clothing wear is done using Zbrush. I use mainly the sculpting brushes like the standard brush and clay buildup brush to create main folds with additional various cloth brushes such as cloth nudge and cloth move.
The cape is the most complex part of the outfit. To break it down into something more manageable I separated it into different pieces according to the reference. This way I can mimic the way the cape is made of multiple layers of clothing and with separated pieces, it will be easier to secure higher texture resolution.
所有的服装都是用Zbrush完成的。我主要使用雕刻刷子，如标准刷子和粘土堆积刷，用额外的各种布刷（如布料推和布料移动）创建主要褶皱。
斗篷是服装中最复杂的部分。为了将其分解为更易于管理的内容，我根据参考将其分成不同的部分。通过这种方式，我可以模仿斗篷由多层衣服制成的方式，并且使用分离的碎片，将更容易获得更高的纹理分辨率。
Almost all the cloth pieces were done using the same technique. By masking and using the extract option in Zbrush. With this technique, I can create meshes with 3 surfaces ( outside, edges and inside) with each surface being different polygroups which will make the UV process easier (as shown in the image below – the polygroups of the clothes).
几乎所有的布料都是使用相同的技术完成的。通过屏蔽并使用Zbrush中的提取选项。使用这种技术，我可以创建具有3个表面（外部，边缘和里面）的网格，每个表面都是不同的多元组，这将使UV过程更容易（如下图所示 - 衣服的多边形组）。
Face modeling and skin details
面部造型和皮肤细节
I gathered many references for the actor. Modeling a likeness is a very tricky process. I tried to collect different angles and lighting to make sure my sculpt looked as close as possible to the images. For this project, I’m referencing Jacob Batalon playing Ned in Spiderman Homecoming. I started off with a clean base mesh that already has UV and begin sculpting using mainly the clay brushes, move brush and dam standard.
我为演员收集了许多参考资料。对相似度进行建模是一个非常棘手的过程。我试图收集不同的角度和照明，以确保我的雕塑看起来尽可能接近图像。对于这个项目，我引用了雅各布·巴塔隆（Jacob Batalon）在《蜘蛛侠英雄归来》（Spiderman Homecoming）中扮演内德（Ned）。我从已经具有UV的干净基础网格开始，并开始主要使用粘土刷，移动刷和大坝标准进行雕刻。
When I have the primary and secondary shapes in place I will start breaking the symmetry to make the sculpture looks more believable and more natural. (It is important to keep the face from being 100% symmetrical)
当我拥有主要和次要形状时，我将开始打破对称性，使雕塑看起来更可信，更自然。（重要的是要保持脸部100%对称）
As for the skin details, I use the multi-channel faces from TexturingXYZ following the “Killer Workflow” method. This workflow provides good results which can be used as a displacement map and diffuse channel. After the process, I can touch up the model with some sculpting for some specific areas such as the eyes or the lips with brushes like dam standard brush and clay brushes.
Killer workflow: https://texturing.xyz/pages/killer-workflow-using-xyz-and-zwrap
至于皮肤细节，我按照“杀手级工作流程”方法使用TexturingXYZ的多通道面孔。此工作流提供了可用作置换图和漫反射通道的良好结果。完成此过程后，我可以用一些特定区域（例如眼睛或嘴唇）的雕刻来修饰模型，例如水坝标准刷和粘土刷子。
杀手级工作流程：https://texturing.xyz/pages/killer-workflow-using-xyz-and-zwrap
UVing and Baking
By modeling the objects using polygroups I can easily isolate each surface of the model into clean UV islands by selecting the edges around each group (given the example of the belts).
(Red and blue are separated into different islands)
UVing 和 Baking
通过使用多组对对象进行建模，我可以通过选择每个组周围的边缘（给定皮带的示例）轻松地将模型的每个表面隔离成干净的UV岛。
（红色和蓝色分为不同的岛屿）
To maintain high resolution for texturing I use up to 3-4 tiles for each object ( the cape, shirt, belts). I double-checked texel density for all the islands to have similar values since using the Layout UVs option could result in big differences in the texel density.
(Example amount of tiles and islands of the cape part).
为了保持纹理的高分辨率，我为每个对象（斗篷，衬衫，皮带）使用多达3-4个瓷砖。我仔细检查了所有岛屿的纹素密度是否具有相似的值，因为使用布局UV选项可能会导致纹素密度的巨大差异。
（海角部分的瓷砖和岛屿的示例数量）。
Some parts of the cape have a pattern that goes along in a straight line. To make this workflow more effective for the texturing process I use the straighten UVs option to make the tileable texture projected perfectly in Substance 3D Painter.
(As seen in the image below – The highlighted area was unwrapped and then straightened which will result in cleaner UV islands).
斗篷的某些部分具有直线排列的图案。为了使此工作流程在纹理化过程中更有效，我使用拉直UV选项使可平铺纹理完美地投影到Substance 3D Painter中。
（如下图所示 - 突出显示的区域被打开，然后拉直，这将导致更清洁的紫外线岛）。
I use Substance 3D Painter to handle the baking for the clothes. Since there are many parts that are close to each other, I use the baking by mesh name ( low and high) option to get cleaner bakes for each object.
我使用Substance 3D Painter来处理衣服的烘烤。由于有许多部件彼此靠近，因此我使用按网格名称（低和高）烘焙选项为每个对象获得更清洁的烘焙。
An example of the cape pieces. The left one is the low mesh with UVs and the right one is the high poly mesh from Zbrush.
By having the correct naming conventions and match by mesh name turned on, should result in a much cleaner bake.
斗篷件的一个例子。左边是UV的低网格，右边的是Zbrush的高多边形网格。
通过打开正确的命名约定并按网格名称匹配，应该会带来更干净的烘焙。
Texturing
For the face textures, I use the albedo from TexturingXYZ multichannel as a base. Once I have the texture projected onto the model I imported both the head model and texture into Substance 3D Painter and made further adjustments such as adding more color variations and using the baked curvature map to create details for skin pores and wrinkles colors.
纹理
对于面部纹理，我使用TexturingXYZ多通道的反照率作为基础。将纹理投影到模型上后，我将头部模型和纹理都导入到Substance 3D Painter中，并进行了进一步的调整，例如添加更多颜色变化以及使用烘焙的曲率贴图为皮肤毛孔和皱纹颜色创建细节。
As for the clothing textures, everything has been manually created. The idea is that I want the clothing to feel used and worn out. Many layers of damage and imperfections were used to bring life into them. I usually start with a simple base color and then add a grunge layer on the top of it to create color contrast.
Some baked maps can be used to create imperfections such as the curvature maps for edge damages or the AO map to create darker crevices. As for the cloth details I use multiple maps from the micro fabrics of TexturingXYZ.
至于服装纹理，一切都是手动创建的。这个想法是，我希望衣服感觉被使用和磨损。许多层次的破坏和不完美被用来为它们带来生命。我通常从一个简单的基色开始，然后在其顶部添加一个垃圾层以创建颜色对比度。
一些烘焙贴图可用于创建瑕疵，例如用于边缘损伤的曲率贴图或用于创建较暗裂缝的AO贴图。至于布料细节，我使用了TexturingXYZ微布中的多个地图。
(Below is an example process of texturing the shirt).
（下面是衬衫纹理化的示例过程）。
Mask layer of edge damages driven by the baked curvature map and grunge map.
由烘焙曲率贴图和垃圾贴图驱动的边缘损伤遮罩层。
Grooming
For grooming, I use Xgen core for the hair and Xgen IGS for the fur on the cape. Before started grooming I blocked out the hair in ZBrush and bring it into Maya for references. Before placing down guides I usually make a backup part of the scalp and use that as the mesh which is bound to XGen.
I started the first process by placing guides and moving them as close as possible to the sculpted geo hair. By having enough guides I’ll have enough control over how the hair will look.
美容
为了修饰，我使用Xgen核心的头发，Xgen IGS用于斗篷上的毛皮。在开始梳理之前，我屏蔽了ZBrush中的头发，并将其带入Maya以供参考。在放置导轨之前，我通常会制作头皮的备份部分，并将其用作绑定到XGen的网格。
我通过放置导轨并将它们尽可能靠近雕刻的地理毛发开始了第一个过程。通过有足够的指南，我将对头发的外观有足够的控制。
Once I have placed down enough guides I use modifiers for XGen to create variation and imperfections to the hair strands. I like to start off by using clumping by guides so I can have the hair shaped a little bit more similar to what my guide’s placement looks like.
I will further add 1 or 2 more clumping modifiers on top of the main clump to create a more natural effect and randomness of the hair. For this piece, I have 2 noise layers, one with the default settings which control the overall intensity of the noise for the hair and the other one control the fly-away hair.
一旦我放下了足够的参考线，我就使用XGen的修饰符来创建发丝的变化和瑕疵。我喜欢从指南的结块开始，这样我就可以使头发的形状与指南的位置更相似。
我将进一步在主团块顶部添加1或2个结块修饰符，以创造更自然的效果和头发的随机性。对于这件作品，我有2个噪声层，一个具有默认设置，用于控制头发噪声的整体强度，另一个控制飞走的头发。
The cape fur requires a bit of playing around in Xgen IGS. My goal was to create a very short layer of fur that is very subtle and mainly will be visible in the shadows. First off, I select all the pieces of the cape and create interactive groom splines from those parts.
The settings I played around with the most are the scale which controls the length and the noise modifier. To control the direction of the hair I use the sculpt brush which I can use to groom the hair in real-time and to control the density of the hair and I use the density brush with low settings to add or remove hair.
斗篷毛皮需要在Xgen IGS中玩一会儿。我的目标是创造一层非常短的毛皮，非常微妙，主要在阴影中可见。首先，我选择斗篷的所有部分，并从这些部分创建交互式新郎样条。
我玩得最多的设置是控制长度的刻度和噪声修饰符。为了控制头发的方向，我使用雕刻刷，我可以用来实时梳理头发并控制头发的密度，我使用低设置的密度刷来添加或删除头发。
Lighting and Rendering
I experimented with different angles of light and found that the one that looks the most interesting is having the light coming from the side and having a clear contrast of light and shadows.
光照和渲染
我尝试了不同的光角度，发现看起来最有趣的是光线来自侧面，并且具有清晰的光和阴影对比。
For this project, I use Vray as the renderer. I have 3 main materials which I use for everything. Vray Mtl for clothes and metal objects, Vray Al Surface for skin and VrayHairNext for hair and fur.
对于这个项目，我使用Vray作为渲染器。我有3种主要材料，我用它来做任何事情。Vray Mtl用于衣服和金属物体，Vray Al Surface用于皮肤，VrayHairNext用于头发和毛皮。
Starting off, I export all the maps from Substance 3D Painter using the Vray template. This will give me a total of 4 maps (Diffuse, Roughness, Metalness and Normal map) which I will be applying to the Vray materials.
首先，我使用Vray模板从Substance 3D Painter导出所有地图。这将为我提供总共4个贴图（漫反射，粗糙度，金属度和法线贴图），我将将其应用于Vray材质。
Ideally, I want to keep the polycount somewhat manageable. I apply a single Vray displacement map node to most of the outfits and accessories. I can then use Vray Opensubdiv to subdivide the mesh which will only be visible in the render view. I found this technique to be super helpful and does not slow down my scene too much.
(Below: Vray displacement node : openSubdiv)
理想情况下，我希望使 polycount 保持一定的可管理性。我将单个 Vray 位移图节点应用于大多数服装和配件。然后，我可以使用 Vray Opensubdiv 来细分网格，该网格仅在渲染视图中可见。我发现这种技术非常有帮助，并且不会太慢我的场景。
（下图：Vray位移节点：openSubdiv）
As for the displacement map of the face, I exported the map directly from the high poly mesh in Zbrush. In Maya, I applied another Vray displacement node only for the face and manually tweak the values there to get something that I like. Turning on “allow negative colors” in the Vray displacement node should fix any weird high and low-value issues similar to adjusting min and max values.
至于面的位移图，我直接从Zbrush中的高多边形网格导出了贴图。在 Maya 中，我只为人脸应用了另一个 Vray 位移节点，并手动调整其中的值以获得我喜欢的东西。在 Vray 位移节点中打开“允许负色”应该可以解决任何奇怪的高值和低值问题，类似于调整最小值和最大值。
This image shows the process of lighting the scene. I use a three-point lighting method. Starting off with the main light which has a strong intensity, at this state my goal was to create contrast on the side which will be filled out using fill light later.
The rim light has the strongest intensity which is used to separate the character from the background. Lastly, I have a light that only affects the eyes, this is for creating a highlight in the eyes which will give more life to the character.
此图显示了场景的照明过程。我使用三点照明方法。从具有强烈强度的主光开始，在这种状态下，我的目标是在侧面创建对比度，稍后将使用补光进行填充。
边缘光具有最强的强度，用于将角色与背景分开。最后，我有一个只影响眼睛的光，这是为了在眼睛中创造一个亮点，这将给角色更多的生命。
Conclusion
结论
Creating a realistic character is always difficult and challenging. With this project, I feel like I was satisfied with the results and I can see rooms for improvement which I will make on the next project. As stated in the introduction that this project is meant to be a fun project without overwhelming me with technical details and super complex workflow as I feel like it is important to have relaxing projects to do on the side.
I hope that this breakdown has been helpful and thanks to Games Artist for the opportunity to publish this article.
For more of my work you can find me on:
Artstation: https://www.artstation.com/sasawatintakul
Instagram: https://www.instagram.com/saintakul/
创造一个逼真的角色总是困难和具有挑战性的。通过这个项目，我觉得我对结果很满意，我可以看到下一个项目的改进空间。正如在介绍中所述，这个项目应该是一个有趣的项目，而不会让我被技术细节和超级复杂的工作流程所淹没，因为我觉得在旁边做轻松的项目很重要。
我希望这个细分是有帮助的，并感谢Games Artist有机会发布这篇文章。
有关我的更多工作，您可以在以下位置找到我：
艺术台： https://www.artstation.com/sasawatintakul
Instagram： https://www.instagram.com/saintakul/
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