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本帖最后由 秋令6689 于 2022-5-17 15:37 编辑
Orc the Berserker Warrior – Character Breakdown – Guilherme Nunes 狂战士兽人 – 角色分解 – 吉列尔梅·努内斯
Introduction Hi! My name is Guilherme Nunes and I’m a 3D Character Artist from Brazil. I would like to thank GamesArtist for the opportunity to talk about my latest work. I’m often challenging myself and working on personal projects, they’re the best way to get better and improve your skills.绍 介绍 你好！我的名字是Guilherme Nunes，我是来自巴西的3D角色艺术家。我要感谢GamesArtist给我机会谈谈我的最新作品。 我经常挑战自己，从事个人项目，这是变得更好和提高技能的最佳方式。 About the project My goal in doing this project was to improve the quality of my art, I’ve always loved monsters and creatures. By making fantasy creatures, I can go beyond the norm and explore different anatomical shapes, I’m always looking to create things that are more interesting than real life, I was always very inspired by the work of Glauco Longhi, especially the orc he made, I was very impressed with the quality he achieved, so this orc became a perfect target for me to improve my art and achieve my goals. 关于项目 我做这个项目的目标是提高我的艺术质量，我一直喜欢怪物和生物。通过制作幻想生物，我可以超越常规，探索不同的解剖形状，我总是希望创造比现实生活更有趣的东西，我总是受到Glauco Longhi的作品的启发，特别是他制作的兽人，我对他取得的质量印象深刻，所以这个兽人成为我提高艺术和实现目标的完美目标。 References I use PureRef to gather my references, when I begin to create the board references, I always start with a small amount reference, so that I don’t get lost in the creation process, my first references were the orc that Glauco made along with some other Orcs from the World of Warcraft, that is a universe that I love. 引用 我使用PureRef来收集我的参考资料，当我开始创建棋盘参考资料时，我总是从少量的参考资料开始，这样我就不会在创作过程中迷失方向，我的第一个参考资料是Glauco与魔兽世界的其他兽人一起制作的兽人，这是我喜欢的宇宙。 Blocking For personal projects I always start from a sphere, because that is the best way to learn and improve your anatomy and sculpting skills, I always start with the sphere with low resolution, through that, I focus mainly on the primary shapes and the silhouette and proportions of the character. For this project, I used ZBrush for sculpting, Maya for retopology and UVs, Substance Painter for texturing and Marmoset for baking and rendering. 阻塞 对于个人项目，我总是从一个球体开始，因为这是学习和提高你的解剖学和雕刻技能的最好方法，我总是从低分辨率的球体开始，通过这个，我主要关注主要形状以及角色的轮廓和比例。对于这个项目，我使用ZBrush进行雕刻，使用Maya进行重新拓扑和UV，使用Substance Painter进行纹理处理，使用Marmoset进行烘焙和渲染。 Sculpting So right after I have a good solid primary shape using dynamesh and I already know the silhouette is not going to change much, I stop using dynamesh and create a clean topology using ZRemesh, I then begin to start using subdivisions to get a higher resolution during the modeling process, at this point, I start to sculpt my favorite parts which are the secondary shapes, this is the moment where the character starts to get interesting. 雕刻 因此，在我使用dynamesh获得良好的固体主要形状并且我已经知道轮廓不会发生太大变化之后，我停止使用dynamesh并使用ZRemesh创建干净的拓扑，然后我开始使用细分在建模过程中获得更高的分辨率，此时，我开始雕刻我最喜欢的部分，即次要形状， 这是角色开始变得有趣的时刻。 At this stage, I can play with the flow and rhythm of the shapes and how they interact with each other, I really love this phase. Besides that, I made all the armor and accessories using ZBrush. 在这个阶段，我可以玩弄形状的流动和节奏，以及它们如何相互作用，我真的很喜欢这个阶段。除此之外，我还使用ZBrush制作了所有的盔甲和配件。 Next, I start the tertiary forms, I start ripping and sculpting the Orc’s scars and then I go on putting the skin pores using different types of alphas. I prefer to do the armature details inside Substance Painter using height and normal map because by doing that I can have more control and I can get a higher texture resolution. 接下来，我开始第三种形式，我开始撕裂和雕刻兽人的疤痕，然后我继续使用不同类型的阿尔法来放置皮肤毛孔。我更喜欢使用高度和法线贴图在 Substance Painter 中执行电枢细节，因为通过这样做，我可以进行更多控制，并且可以获得更高的纹理分辨率。 Retopology After I finish my highpoly I decimate the model and export it to Maya, I then start doing the retopology, I begin to look at some references to make the loops flow correctly, especially on the face where there will be a lot of deformation in the animation, on the body I always like to follow the shapes of the muscles, for retopology it is important that your loops are following the shapes and volumes of the highpoly, this way you guarantee that everything will go well during the bake. 重新拓扑 在我完成我的高息之后，我抽取模型并将其导出到Maya，然后我开始做重新拓扑，我开始查看一些参考以使循环正确流动，特别是在动画中会有很多变形的脸上，在身体上我总是喜欢遵循肌肉的形状， 对于重新拓扑学，重要的是你的循环遵循高聚的形状和体积，这样你就可以保证在烘焙过程中一切都会顺利进行。 UVs Right after my retopology is ready, I start unwrapping the character and organizing the UV sets, it is important to always try to hide the UV seams as much as possible so that it does not appear on the character, besides that it is also important to always duplicate the same UV for others that will use the same texture, for example, the chains and some metals of my character, by doing this I can have a higher texture resolution for my characters other accessories. UV 在我的重新拓扑准备就绪后，我开始解开角色的包装并组织UV集，重要的是要始终尝试尽可能地隐藏UV接缝，使其不会出现在角色上，此外，始终为使用相同纹理的其他人复制相同的UV也很重要， 例如，我的角色的链条和一些金属，通过这样做，我可以为我的角色其他配件提供更高的纹理分辨率。 Baking When I finish my UVs and organizing the UV sets, I organize my folders in ZBrush and Maya using the suffix High and Low at the end, I export everything into Marmoset and bake it. Marmoset is an excellent tool to bake with because you can control the cage size in case you have some bake errors in your mesh, by using the cage you can correct these errors. A quick tip, that I always use, in Marmoset, set the curvature map strength to 1.6 so, I find it very helpful when texturing. 烘焙 当我完成UV并组织UV集时，我使用最后的后缀High和Low在ZBrush和Maya中组织我的文件夹，我将所有内容导出到Marmoset中并进行烘焙。Marmoset是一个很好的烘焙工具，因为你可以控制笼子的大小，以防万一你的网格中有一些烘焙错误，通过使用笼子，你可以纠正这些错误。一个快速提示，我总是使用，在Marmoset中，将曲率贴图强度设置为1.6，因此，我发现它在纹理时非常有用。 Texturing Finally, I export my low poly mesh to Substance Painter and the baked maps which were done in Marmoset, I start one of my favorite parts which is texturing! I use the fill layers in Substance Painter because they are non-destructive and I can whenever I want, go back and change the layers whilst improving them. 纹理 最后，我将我的低聚乙烯网格导出到Substance Painter和在Marmoset中完成的烘焙贴图，我开始我最喜欢的部分之一，即纹理！ 我在 Substance Painter 中使用填充图层，因为它们是非破坏性的，我可以随时返回并更改图层，同时对其进行改进。 Before I start, I like to make a quick base texture on the whole character so I can get an idea of what it will look like in the end, after that I start texturing the character, then I go on to texturing the armor and accessories. I start using some grunge masks to help me generate the dirt on the character and accessories, it is important that while you are doing the texture you are exporting the texture to your render engine consistently, in my case it was Marmoset because the light behavior is different in Substance Painter and Marmoset, so I keep texturing, improving and exporting until I am satisfied with the end result. 在我开始之前，我喜欢在整个角色上制作一个快速的基础纹理，这样我就可以了解它最终会是什么样子，之后我开始对角色进行纹理处理，然后我继续对盔甲和配件进行纹理处理。我开始使用一些垃圾蒙版来帮助我在角色和配件上生成污垢，重要的是，当您执行纹理时，要始终如一地将纹理导出到渲染引擎，在我的情况下，它是Marmoset，因为Substance Painter和Marmoset中的光行为不同，所以我继续纹理， 改进和导出，直到我对最终结果感到满意。 An excellent thing that I learned whilst creating this character, is that it is really important to break up your texture as much as you can, you can do this by hand, and also by using masks and generators, by breaking up the texture you will gain more details and you will make your texture go to the next level. 我在创建这个角色时学到的一件很棒的事情是，尽可能多地分解纹理非常重要，你可以手动完成，也可以使用蒙版和生成器，通过分解纹理，你将获得更多细节，你将使你的纹理进入一个新的水平。 Rendering After I finish my texture I export my low poly mesh and the textured maps in Substance Painter to Marmoset Toolbag 4, I like to spend a lot of time in the rendering stage, tweaking the lights and shaders to get a better quality look, I do a lot render tests and compare with my references with the images I rendered. I like to use Heiji mode to have more contrast. I make the lighting of the sky preset very low with just a little bit of light, I use a top light and two lights next to the character to soften the strong shadow generated by the top light I also add a ring light to make the character stand out from the background. 渲染 完成纹理后，我将 Substance Painter 中的低多边形网格和纹理贴图导出到 Marmoset Toolbag 4，我喜欢在渲染阶段花费大量时间，调整灯光和着色器以获得更好的质量外观，我做了很多渲染测试，并将我的参考与我渲染的图像进行比较。我喜欢使用平治模式来获得更多的对比度。我用一点点光使天空的照明预设得非常低，我使用一个顶部光和角色旁边的两个灯来柔化顶部光产生的强烈阴影，我还添加了一个环形光，使角色从背景中脱颖而出。 Conclusion I learned a lot from this project, it was a really fun project to work on, I really love making dark fantasy creatures and exploring different anatomical shapes. Thanks again to the GamesArtist team, and thanks for reading, I really had a lot of fun writing this article and I hope you enjoyed it! 结论 我从这个项目中学到了很多东西，这是一个非常有趣的项目，我真的很喜欢制作黑暗幻想生物和探索不同的解剖形状。 再次感谢GamesArtist团队，并感谢您的阅读，我真的写这篇文章很开心，我希望你喜欢它！
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