Khoi Nguyen 向我们介绍了 HP Lovecraft 写实肖像背后的工作过程，并分享了实现肖像的一些想法。
Introduction
Hello, my name is Khoi Nguyen, I have been working in the game/VFX industry as a 3D Character Artist for ten years. I started as a 3D modeler at Virtuos-Sparx – an outsourcing studio for the game and film industry in Saigon and had a chance to work on various games and VFX projects.
介绍
你好，我叫 Khoi Nguyen，我在游戏/视觉特效行业工作了十年，是一名 3D 角色艺术家。我最初在 Virtuos-Sparx 担任 3D 建模师 - 一家位于西贡的游戏和电影行业外包工作室，并有机会参与各种游戏和 VFX 项目。
After seven years at Sparx, I moved to some local studios working on inhouse-projects. For the last two years, I decided to work from home as a freelancer and also take time to learn something new. Then I joined Kris Costa's LIVE class. From that, I started going deep into portrait art.
在 Sparx 工作了 7 年后，我搬到了一些当地工作室从事内部项目。在过去的两年里，我决定以自由职业者的身份在家工作，同时也花时间学习新东西。然后我加入了 Kris Costa 的 LIVE 课程。从那时起，我开始深入研究肖像艺术。
H.P. Lovecraft Project
Lovecraft's one of my favorite authors and I'm a big fan of the Cthulhu cosmic world. I find a lot of 2D artworks of him and his creations but not in 3D. So I thought why not make a portrait of him or even a full character. I worked on this project in my free time for two months. To accomplish the task, I used ZBrush, Substance Painter, Maya, Arnold, and XGen.
惠普洛夫克拉夫特项目
洛夫克拉夫特是我最喜欢的作家之一，我是克苏鲁宇宙世界的忠实粉丝。我找到了很多他和他的作品的 2D 艺术作品，但不是 3D 的。所以我想为什么不给他拍一张肖像，甚至是一个完整的人物。我在空闲时间为这个项目工作了两个月。为了完成这项任务，我使用了 ZBrush、Substance Painter、Maya、Arnold 和 XGen。
For this project, I decided to start from scratch and begin with sculpting the head from a sphere. I gathered a lot of references like his pictures and people's sculptures. Like every single portrait out there, likeness's always the most difficult part because there are not many photos of him on the internet and they vary in age and lighting. It's very much of a conflict so I had to find one that would fit my concept.
When the overall form's relatively good, I used a Retopology Base Mesh and fit it into my sculpted head by projection in ZBrush. I've created a collection of brushes for the details like pores, wrinkles, and pimples following the Kris Costa method. Displacement Maps were baked using MultiMap Exporter in ZBrush. You could use my settings below as a reference. I exported the head with SubDivision 2 for more volume. Adaptive should be turned off because it will make the baking process longer but make no difference in the end.
当整体形状比较好时，我使用了一个 Retopology Base Mesh，并在 ZBrush 中通过投影将其安装到我的雕刻头部。我按照 Kris Costa 方法为毛孔、皱纹和粉刺等细节创建了一系列画笔。置换贴图是使用 ZBrush 中的 MultiMap 导出器烘焙的。您可以使用我下面的设置作为参考。我用 SubDivision 2 导出了头部以获得更大的音量。应该关闭自适应，因为它会使烘焙过程更长，但最终没有任何区别。
The eyeball and iris were sculpted in ZBrush. I used the same settings as for the head and Displacement Maps. UV of the eyeball should stay in the center for the shader setup.
The Ramp node is connected to Transmission Weight to control the visibility and size of the iris as you can see in the image. The ramp type should be Circular Ramp.
Textures of the head, hand, Necronomicon, and tentacles were painted with Substance Painter. I tried to focus on the portrait, so the head has 3 Udim and 8k maps.
I was inspired by the Necronomicon in The Evil Dead movie, so I tried to mix the idea of it and the Cthulhu icon.
我受到 The Evil Dead 电影中的 Necronomicon 的启发，所以我试图将它的想法和克苏鲁图标混合在一起。
The cloths were sculpted in ZBrush then Retopo'ed in Maya. I created some procedural shaders for them. All were tiling fabric textures and some Maya nodes connected to the aiStandardSurface.
The hair was created with XGen. I divided the descriptions into parts like eyelashes, eyebrows, hair, beard, etc. The modifiers would be a little different for every part, but usually, they would have 2-3 clumpings, 1 cut, 1 noise for overall, and 1 noise for stray control.
For this project, I used a Three-Point lighting system with an extra spotlight and a skydome light with low intensity for the final render. The spotlight is there because we have an aiAtmosphereVolume in the scene so it will create the street light effect from above Lovecraft. The fog is created by a random volume that was quickly sculpted and assigned by an aiStandardVolume in Volume Material. Renders were made with Arnold Renderer, you could see my settings below. Also, turn on Clamping and adjust AA Clamp Value if you get fireflies in the render.
对于这个项目，我使用了一个三点照明系统，带有一个额外的聚光灯和一个低强度的天窗灯，用于最终渲染。聚光灯在那里是因为我们在场景中有一个 aiAtmosphereVolume，所以它会从 Lovecraft 上方创建路灯效果。雾是由随机体积创建的，该体积由体积材质中的 aiStandardVolume 快速雕刻和分配。渲染是用 Arnold Renderer 制作的，你可以在下面看到我的设置。此外，如果渲染中出现萤火虫，请打开 Clamping 并调整 AA Clamp Value。
After that, you could use Photoshop to tweak the renders, like adjusting the Level or Curve, to get more interesting results. And here we go – the final result!
The biggest challenge in this project was the lack of references since this man lived in the 1900s and there's few pictures of him out there. The quality is not so good, and all of them are black and white. The hardest part was to make the lighting in ZBrush, sometimes this process is very deceitful. You can look at your sculpt and say “oh it looks fine”, but when you bring the model to Maya for rendering, it will be different. So you have to repeat the process many times – make some tweaks in ZBrush, then render it in Maya, and so on.
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