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本帖最后由 秋令6689 于 2022-5-17 15:36 编辑
Rick Grimes – Character Breakdown – Rosanna Perrucci Rick Grimes – 角色分解 – Rosanna Perrucci Introduction My name is Rosanna Perrucci, born in a small town in the south of Italy. I’ve been passionate about art and video games since a was a kid, but just as an adult, I realized that those two passions, combined, could lead to a real job (such a quick brain right?) 介绍 我的名字是Rosanna Perrucci，出生在意大利南部的一个小镇。我从小就对艺术和视频游戏充满热情，但作为一个成年人，我意识到这两种激情结合起来，可以带来一份真正的工作（这么快的大脑对吧？） I’m a super extrovert person, and before deciding on becoming a character artist I always worked in contact with people, which I love, so this path was really something new for me. I started to approach 3D in 2017, using just Maya, substance painter and nothing else. 我是一个超级外向的人，在决定成为一名性格艺术家之前，我总是与我喜欢的人接触，所以这条路对我来说真的是新的东西。我在2017年开始接触3D，只使用Maya，物质画家，没有别的。
What goals did you have in mind when making the character? My main goal was to learn how to make a realistic character, and I started by choosing a concept that I love because I felt I would have to stick to it for quite a while (it was soo true!). I then searched for the most appropriate pipeline and toolchain, and I started working on the character by myself, without a real understanding of anatomy and with just background as a 2d artist, which honestly didn’t help at all. Once the first attempt was done I found Georgian Avasilcutei’s twitch channel (), in which I asked for the first feedback… 在制作这个角色时，你有什么目标？ 我的主要目标是学习如何制作一个逼真的角色，我从选择一个我喜欢的概念开始，因为我觉得我必须坚持一段时间（这是真的！）。 然后，我搜索了最合适的管道和工具链，我开始自己制作角色，没有真正了解解剖结构，只有2D艺术家的背景，老实说，这根本没有帮助。 第一次尝试完成后，我找到了Georgian Avasilcutei的抽搐频道（），在其中我询问了第一个反馈...... First attempt 第一次尝试 My first attempt on Rick, I failed so hard and I knew that, but I had no clue how to do better. Georgian’s face during the feedback was priceless, he tried so hard to be encouraging, poor thing. Obviously everything needed to be redone from scratch. So with him tutoring me, I went through the whole procedure again. He’s been a key person in this process, and I’m still currently in his mentorship program (). 我对Rick的第一次尝试，我失败了，我知道这一点，但我不知道如何做得更好。格鲁吉亚人在反馈期间的表情是无价的，他如此努力地鼓励，可怜的事情。 显然，一切都需要从头开始重做。因此，在他的指导下，我再次经历了整个过程。在这个过程中，他一直是关键人物，我目前仍在他的导师计划中 （）。 What software did you use? 您使用了什么软件？ I used Zbrush and (Zwrap), Maya, Topogun, RizomUV, Marmoset Toolbag, Krita, Substance Painter and PureRef. 我使用了Zbrush和（Zwrap），Maya，Topogun，RizomUV，Marmoset Toolbag，Krita，Substance Painter和PureRef。 References/Inspiration I’m a big fan of The Last of Us and The Walking Dead, and I wanted it to be a character that could potentially fit in both universes. So I finally decided on Rick Grimes, which is one of my favourite characters. 参考/灵感 我是《最后生还者》和《行尸走肉》的忠实粉丝，我希望它能成为一个可能同时适合两个宇宙的角色。所以我最终决定选择Rick Grimes，这是我最喜欢的角色之一。 Sculpting the high poly After choosing the character I started gathering references for the likeness from Getty images. My folder consists of 1.892 files, 43 subfolders and 5,44 GB. Seriously, it was madness. The first time a selected the pictures I was going to use I ended up with a huge PurRef file, and just after my mentor feedback I realized a needed very few pics with the same age, same focal length and from the same photoshoot if possible. My PureRef file went from “all in” to a more manageable size. 雕刻高多边形 选择角色后，我开始从盖蒂图像中收集肖像的参考资料。 我的文件夹由 1.892 个文件、43 个子文件夹和 5，44 GB 组成。说真的，这是疯狂的。第一次选择我要使用的图片时，我最终得到了一个巨大的PurRef文件，就在我的导师反馈之后，我意识到需要很少的照片具有相同的年龄，相同的焦距和相同的照片拍摄，如果可能的话。我的 PureRef 文件从"全部"变为更易于管理的大小。 “All in” PureRef After this, it was time to sculpt and let me say I had no idea what human anatomy was about, so I took a whole month to dig into a Scott Eaton course. It took me more than 200 iterations to get from Neanderthal to actual Homo Sapiens, and the other 300 till the actual likeness. And I’m not even kidding. It took me 1 year just for the likeness, and I think most people that don’t work with 3D never realize how much effort it takes to learn, sadly misled by speed sculpts and renders with photoshop retouch. 在此之后，是时候雕刻了，让我说我不知道人体解剖学是什么，所以我花了整整一个月的时间去研究斯科特·伊顿的课程。 我花了200多次迭代才从尼安德特人到真正的智人，另外300次迭代直到实际的样子。我甚至不是在开玩笑。我花了1年的时间才获得这种相似性，我认为大多数不使用3D的人从未意识到学习需要付出多少努力，可悲的是，它被photoshop修饰的速度雕刻和渲染所误导。 Hair Once the face was almost done, I started working on the hair. I used Ornatrix, managing to groom proper strands after a few attempts, baking just the albedo in Maya software and using Krita to extract a decent normal map and an alpha map. I used just those three in the Marmoset toolbag shader, and it was more than enough. 头发 一旦脸几乎完成，我就开始研究头发。我使用Ornatrix，在几次尝试后设法梳理出适当的链，在Maya软件中只烘焙反照率，并使用Krita提取一个体面的法线地图和一个阿尔法地图。我在Marmoset工具袋着色器中只使用了这三个，这已经足够了。 (Here are all the strands I used on Rick’s hair) （这是我在瑞克的头发上使用的所有发丝） I then created and placed the cards and the clumps with George Sladkovsky’s GS Curve Tools (), a great time-saver in this situation. It allows you to bind a card or a clump of cards to a curve, and then you can manually place the curve and add every sort of variation on twist, tape, curvature, giving you a really powerful tool to work with. It was really good to use, and it gave me all the time to focus on the artistic part of the process. I also learned, in the worst way possible, to keep every clump’s group in a separate layer, ready to be modified without too much stress and without going through the horrible process of cherry-picking cards and clumps one by one. 然后，我用George Sladkovsky的GS Curve Tools创建并放置了卡片和团块，在这种情况下可以节省大量时间。它允许您将一张卡或一团卡绑定到曲线上，然后您可以手动放置曲线并添加扭曲，胶带，曲率的各种变化，从而为您提供一个非常强大的工具。它使用起来真的很好，它让我有时间专注于这个过程的艺术部分。我还学会了，以最糟糕的方式，将每个团块的组保持在一个单独的层中，准备好在没有太多压力的情况下进行修改，并且不会经历一个接一个地挑选卡片和团块的可怕过程。 Again, the hair took me several months to be properly made, working on the overall shapes first with the clumps, filling the biggest spaces with the main shapes, checking the silohuette multiple times and saving for the final touch the carefully placed single hair cards. I mostly used Georgian Avasilcutei’s Braveheart hairstyle for reference, you can find the whole process on his Patreon. 同样，头发花了我几个月的时间才被正确制作，首先用团块处理整体形状，用主要形状填充最大的空间，多次检查筒仓，并保存精心放置的单发卡作为最后的触摸。我主要使用格鲁吉亚阿瓦西尔库泰的勇敢心发型作为参考，你可以在他的Patreon上找到整个过程。 (On the left I had the single cards, and on the right the clumps I manually made, combining multiple cards. ) 左边是单张牌，右边是我手工制作的团块，组合了多张牌。 Texturing Texturing started while the sculpt and the hair were still in a WIP stage. I used a base mesh from , ZWrapped it on my sculpt and used the albedo and the details it comes with to put some pores information on my higher subdivision level. I then had just to work a bit more on the UVs and some minor cleanups. I ended up with a raw albedo, that was really far from what I needed but was a good start. I baked the high poly on the low poly in Marmoset, and imported the maps in SubstancePainter, starting to paint the albedo, then the specular level and the roughness. 纹理 纹理处理开始时，雕塑和头发仍处于在制品阶段。我使用了 https://www.3dscanstore.com/ 的基本网格，在我的雕塑上ZWrapp，并使用反照率和它附带的细节将一些毛孔信息放在我的更高细分级别上。然后，我不得不在UV上做更多的工作和一些小的清理。我最终得到了一个原始的反照率，这真的离我需要的还很远，但这是一个良好的开端。我在Marmoset的低多边形上烘烤了高多边形，并在SubstancePainter中导入了地图，开始绘制反照率，然后是镜面反射级别和粗糙度。 You can see, the skin has a lot of colour variations, and sometimes it’s really hard to notice this if you look at a sharp picture. But if you blur it a bit, you’ll be surprised to see how much your eye can now recognize, in terms of colours, since it’s now mostly ignoring the blurred shapes. 你可以看到，皮肤有很多颜色变化，有时如果你看一张清晰的照片，真的很难注意到这一点。但是，如果你稍微模糊一下，你会惊讶地发现你的眼睛现在可以识别多少颜色，因为它现在基本上忽略了模糊的形状。 The beard 胡子 For the beard, the process was, at least for the texture part, pretty similar to the one I used for the hair. I created some strands in Ornatrix but this time I baked them on a plane in Marmoset, creating also a cool colour variation on the strands, assigning to every different hair a certain vertex colour in Maya. Then I created the hair cards for the beard, adding some depth to them by curving a bit the cards and placing them by hand. Like the hair, every card type for the beard had its own layer, which is pretty useful if you want to change the UVs’ placement of some of the cards. The same process was used for the eyebrows as well. 对于胡须，这个过程，至少对于纹理部分来说，与我用于头发的过程非常相似。我在Ornatrix中创造了一些发丝，但这次我在Marmoset的平面上烘烤它们，在发丝上也创造了一种凉爽的颜色变化，在Maya中为每种不同的头发 分配了某种顶点颜色。然后，我为胡须制作了发卡，通过弯曲一点卡片并用手放置来增加它们的深度。像头发一样，胡须的每种卡牌类型都有自己的层，如果你想改变UV对某些卡牌的位置，这是非常有用的。同样的过程也用于眉毛。 Presentation: lighting, posing, rendering 演示：照明、摆姿势、渲染 First thing first, it’s important to have a reference for the presentation. The worst thing you can do is to do something by memory, or imagination because it will not end well. I love dramatic lightning, so I picked the picture I liked the most and tried to replicate the mood. Not copying 1 to 1 every light or expression, but just the overall feeling. 首先，重要的是要为演示文稿提供参考。你能做的最糟糕的事情就是靠记忆或想象力做一些事情，因为它不会有好下场。 我喜欢戏剧性的闪电，所以我选择了我最喜欢的图片，并试图复制这种情绪。不是每盏灯或表情都抄袭1比1，而只是整体感觉。 I used just two lights, key light and a rim light, a tiny bit of fog and a bit more contrast in the camera settings and then I took my shots. 我只使用了两盏灯，主光灯和一盏边缘灯，在相机设置中稍微有点雾和更多的对比度，然后我拍摄了照片。 Tips Always keep your stuff organized, with proper tags and names that actually can tell what’s in that file, or in that folder. Always work in layers: you have them in every software, use them! You really want to delete old files sometimes, you don’t want your folder to be huge! Mine was over 170 GB! And that was just my ZBrush folder, Always backup your last file project, just in case… 技巧 始终保持你的东西井井有条，使用适当的标签和名称，实际上可以告诉该文件或该文件夹中的内容。 始终分层工作：您在每个软件中都有它们，使用它们！有时您真的想删除旧文件，您不希望您的文件夹很大！我的超过170 GB！这只是我的ZBrush文件夹，始终备份您的上一个文件项目，以防万一... Conclusion The road is long, the path is not straight and you’ll feel miserable most of the time. It will look bad, ugly, until one day it will not look bad anymore, as my mentor always says, and he’s damn right on it. 结论 路很长，路不直，大多数时候你会感到痛苦。它看起来很糟糕，很丑陋，直到有一天它看起来不再糟糕，就像我的导师总是说的那样，他该死的。
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