Commuter – Character Breakdown – Jake Roddis

上班族 – 角色分解 – 杰克·罗迪斯

Introduction

Hello! My name is Jake Roddis and I’m a Senior 3D Character artist based in the UK. I’ve worked in the games industry, for about 6 years, on titles such as Dead Island 2 and Homefront the Revolution (DLC). I’m currently working on Predecessor at Omeda studios.

介绍

你好！我的名字是Jake Roddis，我是一名居住在英国的高级3D角色艺术家。我在游戏行业工作了大约6年，制作过《死亡岛2》和《国土前线：革命》（DLC）等游戏。我目前正在Omeda工作室制作Expondite。

I always try to have a personal project on the backburner. Whilst these projects don’t always reach the finish line, they allow me to be creative and innovative, giving me the freedom I don’t always have in my professional work.

我总是试图把一个个人项目放在次要位置。虽然这些项目并不总是达到终点线，但它们让我具有创造力和创新精神，给了我在专业工作中并不总是拥有的自由。

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The Project and goals

As projects tend to, this one started small. My original goal was to make a denim jacket in Marvellous Designer as a study and it developed into a full character over time. As such, the project never really went through that initial blockout of the whole character and instead expanded and grew.

项目和目标

正如项目所趋向的那样，这个项目开始时很小。我最初的目标是在《了不起的设计师》中制作一件牛仔夹克作为研究，随着时间的推移，它发展成为一个完整的角色。因此，该项目从未真正经历过整个角色的最初阻塞，而是扩展和成长。

My main goal was to consolidate my clothing skills and improve my face sculpting knowledge all while creating a portfolio piece.

The project started with me gathering references and inspiration in Pureref. I decided on doing a fur-lined jacket as I thought the fur could be a fun rendering challenge. A lot of the looks I gathered here later inspired the overall character.

我的主要目标是巩固我的服装技能，提高我的面部雕塑知识，同时创作一件作品集。

这个项目始于我在Pureref中收集参考和灵感。我决定做一件毛皮衬里的夹克，因为我认为毛皮可能是一个有趣的渲染挑战。我在这里收集的很多造型后来都激发了整体角色的灵感。

Highpoly

I started by roughly blocking in the shape of the jacket in Marvellous, using an adjusted shirt pattern. I Then split this up into the respective panels following my reference. I manipulated this mesh at a high particle distance to fit properly and to get the folds to look the way I wanted to.

高聚

我首先粗略地挡住了《Marvellous》中夹克的形状，使用了调整后的衬衫图案。然后，我根据我的参考将其拆分为相应的面板。我在高粒子距离处操纵这个网格，以正确安装并使褶皱看起来像我想要的那样。

Once I was happy with it, I simulated the mesh at a low particle distance and exported it to ZBrush. I always aim to get about 80% of the garment done on the marvellous side. It’s easy to adjust things like the overall fit and the seams and details etc, in ZBrush but I always try to get the folds to 100% in MD. I tend to avoid being too precious over the UVs that MD gives you and usually rely on Zremesher + UV master in ZBrush to give me some workable topology.

一旦我对它感到满意，我就在低粒子距离下模拟网格并将其导出到ZBrush。我总是以完成大约80%的服装在奇妙的方面。在ZBrush中，很容易调整整体贴合度，接缝和细节等，但我总是尝试在MD中将褶皱提高到100%。我倾向于避免过于珍贵MD给你的UV，并且通常依靠ZBrush中的Zremesher + UV master来为我提供一些可行的拓扑结构。

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Once I had the garment with good topology and UVs in ZBrush, I adjusted it slightly to fit, gave it thickness using panel loops and added all the seam details. For the fur, I created shells from the existing panels of the jacket and gave them UVs using UVmaster. I used a tiling mega scans texture for the base level of the fur, this gave me a strong base to build the fur onto and gave me something to generate masks from down the line. I modelled the buttons using Zmodeller and added stitching using a custom IMM.

一旦我在ZBrush中拥有了具有良好拓扑结构和UV的服装，我就稍微调整了它以适合它，使用面板环赋予其厚度，并添加了所有接缝细节。对于毛皮，我从夹克的现有面板上创建了贝壳，并使用UVmaster给了它们UV。我使用了平铺巨型扫描纹理作为毛皮的基础水平，这给了我一个强大的基础来构建毛皮，并给了我一些东西来从下面生成面具。我使用Zmodeller对按钮进行了建模，并使用自定义IMM添加了拼接。

TIP: As MD garments can end up looking a little bit clean (especially for a denim jacket in this case), I try to break up the surface a bit using alpha 61. I used the dragrect stroke type at a low intensity and follow perpendicular to the seams.

提示：由于MD服装最终看起来有点干净（特别是对于在这种情况下的牛仔夹克），我尝试使用alpha 61稍微分解表面。我以低强度使用拖曳式冲程类型，并垂直于接缝。

For the rest of the outfit, I followed a similar workflow of marvelous to ZBrush for detailing.

对于服装的其余部分，我遵循了与ZBrush类似的工作流程进行细节设计。

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TIP: If you want to add more detail folds in MD, You can use the right-click > layer clone over function and increase the weft and warp of the top layer by a couple of threads. This only works on low particle distance clothing. You can also freeze the lower layer if you want to completely preserve your major folds. Bear in mind that this will increase the overall thickness of your folds

提示： 如果要在 MD 中添加更多细节折叠，可以使用右键单击>图层克隆功能，并将顶层的纬线和翘曲增加几个线程。这仅适用于低颗粒距离服装。如果您想完全保留主要褶皱，也可以冻结下层。请记住，这将增加褶皱的整体厚度

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Skin detailing

For detailing the skin and hands I used one of the animation ready scans off of 3D scan store, I wrapped this to my sculpt using wrap 3 following this tutorial from 3d scan store’s James Busby:

皮肤细节

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为了详细描述皮肤和手部，我使用了3D扫描商店的动画就绪扫描之一，我按照3D扫描商店的James Busby的本教程，使用包装3将其包装到我的雕塑中：

The Hair

For the hair, I used Xgen to generate the cards themselves. When building a hairstyle I try to focus on a base layer of dense cards first, followed by a breakup layer and fly-away hairs.

The important thing was to have a variety of densities, clumping and cuts. I usually make the cards as I need them for each layer. From this, I baked out Opacity, root to tip, ID and a height map.

头发

对于头发，我使用Xgen自己生成卡片。在建立发型时，我首先尝试将注意力集中在密集卡片的基础层上，然后是分手层和飞走的头发。

重要的是要有各种密度，结块和切割。我通常会制作卡片，因为我需要它们为每层。由此，我烘焙出不透明度，根到尖端，ID和高度图。

I placed the cards by hand in Maya. At first, I try to establish the overall look/flow of the style, using joint chains and skinning the cards to them. You get to a point where you cant have hundreds of skinned cards so you have to commit to the style and then go in and polish it by hand.

我把手的卡片放在玛雅。首先，我尝试建立风格的整体外观/流程，使用关节链并将卡片蒙皮到它们身上。你到了一个地步，你不能有数百张剥皮的卡片，所以你必须致力于风格，然后进去用手打磨它。

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TIP: When generating hair for baking try adding curvature to the base plane, this allows for more variation in the hair strands you generate. This helps blend the hair into the head at the root in a more natural way.

提示：当生成用于烘焙的头发时，请尝试向基平面添加曲率，这允许您生成的发丝发生更多变化。这有助于以更自然的方式将头发混合到头部的根部。

Rendering + Lighting

I always like to get the character into Unreal as soon as it’s possible to do so. I find it really helps show how the project is coming together under some actual lighting with materials etc.

I always find it helpful to see the face outside of Zbrush too, as the perspective can be a little wonky compared to in engine.

渲染 + 光照

我总是喜欢在可能的情况下尽快让角色进入虚幻引擎。我发现它确实有助于展示项目如何在一些实际的照明和材料等下组合在一起，

我总是发现看到Zbrush外面的脸也很有帮助，因为与引擎相比，视角可能有点不稳定。

For this project I used the Metahuman example scene, It already had solid lighting set up. I later adjusted and added to this to render out the full character.

对于这个项目，我使用了Metahuman示例场景，它已经设置了坚实的照明。我后来调整并添加了这个，以渲染出完整的角色。

I used the meta-human Skin and eye shader and a tweaked hair shader from Epics paragon demo. I simplified the meta-human skin shader, cutting out any of the wrinkle map functions and compressing the masks into a single texture. For the glass shader, I used this for the basic set up:

我使用了超人皮肤和眼睛着色器，以及Epics paragon演示中经过调整的头发着色器。我简化了超人皮肤着色器，删除了任何皱纹贴图功能，并将蒙版压缩为单个纹理。对于玻璃着色器，我将其用于基本设置：

For the fur on the jacket, I duplicated the base layer upwards a few times, creating shells that stack above the base layer. I created an alpha mask from the base fur texture and duplicated the material to create a subsurface version of it that included alpha mask dithering.

对于夹克上的毛皮，我向上复制了基层几次，创建了堆叠在基层上方的软壳面料。我从基础毛皮纹理创建了一个阿尔法蒙版，并复制了该材质，以创建它的地下版本，其中包括阿尔法蒙版抖动。

First Iteration:

第一次迭代：

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When I first got the character into UE4, I found that the face wasn’t looking right. This was also the first time seeing it with hair too, hair can drastically affect the face. So I went back and forth between Zbrush to improve it.

当我第一次将角色放入UE4时，我发现脸看起来不对劲。这也是第一次看到它和头发一起，头发会极大地影响脸部。所以我在Zbrush之间来回走动来改进它。

Second Iteration:

第二次迭代：

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I updated the face and was much happier with it overall. I also added the glasses and earrings and I could start to see more of her personality come through.

I wasn’t too happy with the overall fit of some of the clothing so I adjusted that when making the shirt and trousers past the blockout stage.

我更新了脸，总体上更满意。我还添加了眼镜和耳环，我可以开始看到她的个性越来越多。

我对一些衣服的整体合身性不太满意，所以当衬衫和裤子越过封锁阶段时，我调整了这一点。

Third Iteration:

第三次迭代：

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This was the first time getting the full character in engine. I was quite happy with the result, the only thing that stood out to me was the denim jacket was a bit lacking in the texture department.

这是第一次在引擎中获得完整的角色。我对结果非常满意，唯一让我印象深刻的是牛仔夹克在纹理部门有点缺乏。

Initially, I went for black trousers but it wasn’t really hitting the mark for me. So I played around with the colour composition, looking at my ref board, I chose yellow for the trousers as it’s quite striking and is complementary to the blue of the jacket. I pushed the overall saturation of the character quite a bit to help make it pop.

最初，我选择了黑色裤子，但它并没有真正达到我的目标。所以我玩弄了颜色成分，看着我的参考板，我选择了黄色作为裤子，因为它非常引人注目，并且与夹克的蓝色相辅相成。我在很大程度上推动了角色的整体饱和度，以帮助它流行起来。

Final Iteration:

最终迭代：

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I updated the jacket textures using an alpha I derived from a photo of a denim seam, from this I projected it onto the mesh in substance painter and generated colour and height from it. Tip: Keep your projects organised and backed up! Between the start and end of this project, I had a catastrophic hard drive failure but luckily I had backed up the essential parts. I did lose some source files like the MD file for the jacket.

我使用从牛仔接缝照片中得出的alpha更新了夹克纹理，从中我将其投影到物质画家的网格上，并从中生成颜色和高度。提示：保持您的项目井井有条和备份！在这个项目的开始和结束之间，我遇到了灾难性的硬盘故障，但幸运的是我已经备份了基本部件。我确实丢失了一些源文件，例如夹克的MD文件。

Accessories

辅料

I felt the character was lacking something, so I decided to make a couple of accessories for her – a backpack and glasses. A lot of the references that I gathered initially were candid shots of people in the street and generally they had a bag of some sort and a lot were wearing sunglasses. I did initially experiment with tinted sunglasses but found I preferred normal glasses in the end – as tinted covered up a lot of the face.

我觉得这个角色缺少一些东西，所以我决定为她做几个配件—— 一个背包和眼镜。我最初收集的很多参考资料都是在街上人们的坦率镜头，通常他们有某种袋子，很多人都戴着太阳镜。我最初确实尝试过有色太阳镜，但最终发现我更喜欢普通的眼镜 - 因为有色镜掩盖了很多脸部。

I modelled the glasses using Zmodeller and a few simple screw IMM brushes for the hinges, I have been using ZModeller more and more recently as it is way more flexible and fast compared to Maya/Max. The glasses helped create more material contrast, as the character was quite matte – this really helps draw your attention to the face.

我使用Zmodeller和一些简单的螺丝IMM刷子对铰链进行了建模，我最近越来越多地使用ZModeller，因为它与Maya / Max相比更加灵活和快速。眼镜有助于创造更多的材料对比度，因为角色非常哑光 - 这真的有助于将你的注意力吸引到脸上。

Tip: For the glass in the glasses, I find that it’s worth modelling as much of the curvature in the lowpoly as you can as I found this to produce nicer reflections in engine.

提示：对于眼镜中的玻璃，我发现值得尽可能多地对低聚物中的曲率进行建模，因为我发现这可以在发动机中产生更好的反射。

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When modelling the backpack, my usual approach would be to model it in ZBrush and sculpt all the fold details but this time I wanted to challenge myself and use MD to make it.

在对背包进行建模时，我通常的方法是在ZBrush中建模并雕刻所有折叠细节，但这次我想挑战自己并使用MD来制作它。

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I started by laying out the pattern. I froze the back panel in place and simulated the rest around it, I did this initially off-model for simplicity. I broke up the panels and added as much detail as I could and then I used the previously mentioned layer clone to help create some secondary folds. I imported the lowpoly of the full character, positioned the backpack and simulated the strap around the shoulder.

我从布置模式开始。我将后面板冻结到位并模拟其周围的其余部分，为了简单起见，我最初在模型外进行了此操作。我分解了面板并添加了尽可能多的细节，然后使用前面提到的图层克隆来帮助创建一些辅助折叠。导入了完整角色的低聚，定位背包并模拟肩膀周围的带子。

Tip: To help fill out the backpack, I created two panels, set them to layer -1, stitched them together and inflated them using the pressure slider. This stopped the bag from collapsing in on itself and makes it feel like the bag has something inside it.

提示：为了帮助填充背包，我创建了两个面板，将它们设置为-1层，将它们缝合在一起并使用压力滑块给它们充气。这可以防止袋子自行坍塌，并使其感觉袋子里面有东西。

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Conclusion

结论

Overall I am happy with the finished result, I learned a lot and I am glad to actually get a personal project to the finish line. I am especially happy with how the hair and face turned out with this project and feel the overall character came together quite nicely in the end, to say that the project itself was a little chaotic.

总的来说，我对完成的结果感到满意，我学到了很多东西，我很高兴能够真正将个人项目带到终点线。我对这个项目的头发和脸部结果感到特别满意，并且感觉整体角色最终很好地结合在一起，可以说项目本身有点混乱。

I think the biggest success of this process was getting the character into Unreal as soon as possible. It really highlighted what was and wasn’t working. I will definitely be carrying this forward to future projects.

我认为这个过程最大的成功是让角色尽快进入虚幻引擎。它真的突出了什么有效，什么不起作用。我一定会将这一点推进到未来的项目中。

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