Introduction
Hi guys! My name is Kristina I am a Character Artist from Ukraine.
介绍
大家好！我的名字是克里斯蒂娜，我是来自乌克兰的性格艺术家。

Project & Goals
I’m learning in Think Tank school online so this project goal was to improve my skills in creating game-ready characters.
I really wanted to create nice armor and to work more with stylized hair that why I choose this character.
Also, I liked the flowers in the concept so I thought it’ll be fun to do.
项目和目标
我正在智库学校在线学习，所以这个项目的目标是提高我创建游戏就绪角色的技能。
我真的很想创造漂亮的盔甲，并更多地使用风格化的头发，这就是为什么我选择这个角色。
另外，我喜欢这个概念中的花朵，所以我认为这样做会很有趣。
References
Before starting the project, I always look for inspiration and gather references. Usually, I gather everything that can be useful for my work.
It can be some examples of clothing, anatomy, texturing and also works of other artists which inspire me.
引用
在开始项目之前，我总是寻找灵感并收集参考资料。通常，我会收集所有对我的工作有用的东西。
它可以是服装，解剖学，纹理以及其他艺术家的作品的一些例子，这些作品激发了我的灵感。
I always try to spend enough time on this stage.
我总是试图在这个舞台上花足够的时间。


Sculpt time
雕刻时间

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Blockout
封锁
Blockout is probably one of the most important things when you start a project, if you’ll catch the proportions well, everything else will no longer be a problem.
I usually start my work from base mesh and move all the proportions on the lower subdivision level to what I need.
当你开始一个项目时，Blockout可能是最重要的事情之一，如果你能很好地抓住比例，其他一切都将不再是问题。
我通常从基础网格开始工作，并将下部细分级别上的所有比例移动到我需要的位置。

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When I’m happy with the result, usually I sketch a face on character and start doing clothes
当我对结果感到满意时，通常会在角色上画一张脸，然后开始做衣服。
In the beginning, I keep the clothes and armor as much low poly as possible, this is necessary in order to keep the sculpture clean throughout the work, especially if you work with stylization.
Then I start to block armor in Maya and export my sketch to zbrush.
You can also retopologize your stuff during the sculpting process if you started from dynamesh so it’s no big deal how you do it if it’s looks good
一开始，我尽可能保持衣服和盔甲的低聚，这是必要的，以便在整个作品中保持雕塑的清洁，特别是如果你使用风格化。
然后，我开始在Maya中阻挡盔甲，并将我的草图导出到zbrush。
如果你从dynamesh开始，你也可以在雕刻过程中重新拓扑你的东西，所以如果它看起来不错，你如何做到这一点没什么大不了的。
Adding thickness
添加厚度
When a basic shape is done, I start adding the thickness to the armor with panel loops.
当基本形状完成后，我开始用面板环为装甲增加厚度。
Then I break it into polygroups and add creases. Usually, I keep such stuff as armor with dynamic subdivisions almost until the end of the sculpting work It allows the model not to be very heavy and it’s much easier to adjust shapes if I need
然后我把它分成多组并添加折痕。通常，我几乎一直保留带有动态细分的盔甲之类的东西，直到雕刻工作结束，它允许模型不会很重，如果我需要，调整形状会容易得多。

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If the model seems too low poly in the start, you can always add 1-2 subdivision levels to keep beautiful curves on the armor.
Also do not forget about the borders, they give the armor stylized look.
如果模型在开始时看起来太低，你可以随时添加1-2个细分级别，以保持盔甲上美丽的曲线。
也不要忘记边界，它们赋予了盔甲风格化的外观。

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When the main shape of the armor is ready, I began to sketch where the roses and vines will be.
For the vines, I made a separate brush, it is not much different from the standard hair brush, only flatter.
当盔甲的主要形状准备就绪时，我开始勾勒出玫瑰和藤蔓的位置。
对于藤蔓，我做了一个单独的刷子，它与标准发刷没有太大区别，只是更扁平。
Here’s a great tutorial from Danny Mac on how to make your own brush.
这是Danny Mac关于如何制作自己的画笔的精彩教程。
https://www.youtube.com/watch?v=8YYfq3fqS6k&ab_channel=DannyMac3D
Next, I start to build the main folds on the clothes
接下来，我开始在衣服上构建主要的褶皱

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I made roses on the head with the help of ArrayMesh function.
我在ArrayMesh功能的帮助下在头上做了玫瑰花。
I did only one petal and generated it in a circle to quickly create a base for work, then I finished the roses by hand so they don’t look boring.
我只做了一个花瓣，并在一个圆圈中生成它，以快速创建一个工作基础，然后我手工完成了玫瑰，这样它们看起来就不会无聊。
Here is a great guide on how to make a quick generation with ArrayMesh.
这是一个很好的指南，介绍如何使用ArrayMesh进行快速生成。
Roses on the armor I sculpted from scratch petal by petal, so there is no secret how to make them quickly. You only need some inspiration and patience here.
https://www.youtube.com/watch?v= ... nel=MaximeForveille
玫瑰花在盔甲上，我从头开始雕刻花瓣，所以没有秘密如何快速制作它们。你只需要一些灵感和耐心

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Hair+Finishing details
头发+整理细节
For hair firstly I focused on the curves, then I arranged the creases and added details.
对于头发，首先我专注于曲线，然后我安排折痕并添加细节。

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In the end, I’ve added details for the armor and created the brush for thorns.
Here is a tutorial for the VDM brush:
最后，我为盔甲添加了细节，并为荆棘创造了画笔。
以下是 VDM 画笔的教程：
https://www.youtube.com/watch?v= ... nnel=FlippedNormals
Below I also show a small tip on creating spiral curves!
下面我还展示了一个关于创建螺旋曲线的小技巧！

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Retopology / UV
Once the high poly is done, I decimated all objects and exported to Maya.
For low poly creation I used Quad Draw function.
再拓扑/紫外线
完成高多边形后，我逐量了所有对象并导出到Maya。
对于低多边形创建，我使用了四元绘制功能。
I recommend this tutorial to look how retopology with Quad Draw works.
我建议本教程来了解四边形绘制的重拓扑是如何工作的。
https://www.youtube.com/watch?v= ... nnel=FlippedNormals
For retopology, I collected references of models that were made for animation. Especially references for the face.
对于重拓扑，我收集了为动画制作的模型的参考。特别是面部参考。
It’s important that your topology repeats the shape of your high poly model, this will guarantee that everything go well during the bake.
After my retopology is done, I started unwrapping the character.
重要的是，您的拓扑结构必须重复高多边形模型的形状，这将保证在烘焙过程中一切顺利。
完成重新拓扑后，我开始解开角色的包装。
It is important always try to hide the UV seams as much as possible so that it doesn’t appear somewhere on the character later.
重要的是，总是尽可能地隐藏UV接缝，这样它以后就不会出现在角色的某个地方。

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Tip
If you are going to add a pattern to clothes in texturing stage, try to align the UV on the borders as much as possible
It’s guaranteed that there won’t be visible seams after texturing.
提示
如果您打算在纹理阶段为衣服添加图案，请尝试尽可能对齐边框上的UV
它保证在纹理化后不会有可见的接缝。
Baking
Before baking, I added gradients in Zbrush with polypaint.
烘
在烘焙之前，我用多面漆在Zbrush中添加了渐变。
After baking, you can put them in Substance and use it with different modes (like multiply for example)
It looks nicer than procedural gradients in Substance Painter and you have more control when doing your gradients by hand.
烘焙后，您可以将它们放入Substance中，并将其用于不同的模式（例如乘法），
它看起来比Substance Painter中的程序渐变更好，并且在手动进行渐变时，您可以更好地控制。

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Also, I used Zbrush to fill my vines with different solid colors and different stuff that I want to mask separately in Substance Painter later. It helps to mask all the objects with the same Color ID with the Color Selection feature.
此外，我使用Zbrush用不同的纯色和不同的东西填充我的藤蔓，我想稍后在Substance Painter中单独遮盖它们。它有助于使用“颜色选择”功能遮罩具有相同颜色 ID 的所有对象。

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I used Marmoset for baking
Baking in a Marmoset is more appropriate for me than in Substance Painter because you can set up a cage size and edit small mistakes, as well you can manually break everything into different groups.
我用狨猴进行烘焙
在狨猴中烘焙比在Substance Painter中更适合我，因为您可以设置笼子大小并编辑小错误，也可以手动将所有内容分解为不同的组。
And just for my opinion bakes seems to be much cleaner in Marmoset compared to Substance Painter.
After baking if you have some small issues, it’s okay to fix it in photoshop.
仅就我而言，与Substance Painter相比，狨猴的烘焙似乎要干净得多。
烘焙后，如果您有一些小问题，可以在photoshop中修复它。

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texturing
The texture was made in the Substance Painter
In this project, I tried to pay a lot of attention to gradients and color transitions
texturing
纹理是在Substance Painter
中制作的 在这个项目中，我试图非常关注渐变和颜色过渡。
Usually, when 20 percent of the texture is ready, I start setting up the scene in the Marmoset where I’ll do the final renders
Usually, for stylized projects, I keep my textures pretty simple and don’t overwork them with details
通常，当20%的纹理准备就绪时，我开始在Marmoset中设置场景，在那里我将进行最终渲染
通常，对于风格化的项目，我会保持纹理非常简单，并且不会过度处理细节。
Ready maps from Substance Painter.
来自物质画家的就绪地图。

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Here is a small tutorial on how I did a flow map for hair.
This map will allow you to give a healthy shine to your hair.
这是一个关于我如何为头发做一个流动图的小教程。
这张地图将让您为头发带来健康的光泽。

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Pose
When 80 percent of the texture was ready, I exported the low poly model to Zbrush and posed it with a Transpose Master plugin also on this stage I did a podium for my character.
姿势
当80%的纹理准备就绪时，我将低多边形模型导出到Zbrush，并用Transpose Master插件将其摆姿势，这也是在这个阶段，我为我的角色做了一个讲台。

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Lighting
I think the lighting in the scene is very important.
My character didn’t look decent until I spent enough time on the light setup
照明
我认为场景中的照明非常重要。
我的角色看起来并不体面，直到我花了足够的时间在灯光设置上
Unfortunately, there are no clear instructions on how to make good lighting and it is a very creative process so don’t shy to spend a lot of time on this stage, tweak the lights and shaders to get your better look.
Below is my light setup:
不幸的是，关于如何制作良好的照明没有明确的说明，这是一个非常有创意的过程，所以不要害羞地在这个舞台上花费大量时间，调整灯光和着色器以获得更好的外观。
以下是我的灯光设置：

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I borrowed the method of the black outline from my supervisor Fred, so I give a link to his tutorial:
我从我的主管弗雷德那里借用了黑色轮廓的方法，所以我给了他的教程一个链接：
https://www.artstation.com/artwork/0XxxEE
Final Note
Don’t be shy to redo things if it doesn’t look very well, it will pay off for sure.
And also don’t forget to have fun when creating your personal project. In the end, only these matter.
最后说明
如果它看起来不太好，不要害羞地重做事情，它肯定会得到回报。
而且不要忘记在创建个人项目时玩得开心。最后，只有这些才重要。
Big Thanks to my supervisor https://www.artstation.com/fredericarsenault and Think Tank students for the support!
非常感谢我的主管和智库学生的支持！
Thanks for reading!

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Introduction
Hi guys! My name is Kristina I am a Character Artist from Ukraine.
介绍
大家好！我的名字是克里斯蒂娜，我是来自乌克兰的性格艺术家。

Project & Goals
I’m learning in Think Tank school online so this project goal was to improve my skills in creating game-ready characters.
I really wanted to create nice armor and to work more with stylized hair that why I choose this character.
Also, I liked the flowers in the concept so I thought it’ll be fun to do.
项目和目标
我正在智库学校在线学习，所以这个项目的目标是提高我创建游戏就绪角色的技能。
我真的很想创造漂亮的盔甲，并更多地使用风格化的头发，这就是为什么我选择这个角色。
另外，我喜欢这个概念中的花朵，所以我认为这样做会很有趣。
References
Before starting the project, I always look for inspiration and gather references. Usually, I gather everything that can be useful for my work.
It can be some examples of clothing, anatomy, texturing and also works of other artists which inspire me.
引用
在开始项目之前，我总是寻找灵感并收集参考资料。通常，我会收集所有对我的工作有用的东西。
它可以是服装，解剖学，纹理以及其他艺术家的作品的一些例子，这些作品激发了我的灵感。
I always try to spend enough time on this stage.
我总是试图在这个舞台上花足够的时间。


Sculpt time
雕刻时间

更多精彩图片 请登录

Blockout
封锁
Blockout is probably one of the most important things when you start a project, if you’ll catch the proportions well, everything else will no longer be a problem.
I usually start my work from base mesh and move all the proportions on the lower subdivision level to what I need.
当你开始一个项目时，Blockout可能是最重要的事情之一，如果你能很好地抓住比例，其他一切都将不再是问题。
我通常从基础网格开始工作，并将下部细分级别上的所有比例移动到我需要的位置。

更多精彩图片 请登录

When I’m happy with the result, usually I sketch a face on character and start doing clothes
当我对结果感到满意时，通常会在角色上画一张脸，然后开始做衣服。
In the beginning, I keep the clothes and armor as much low poly as possible, this is necessary in order to keep the sculpture clean throughout the work, especially if you work with stylization.
Then I start to block armor in Maya and export my sketch to zbrush.
You can also retopologize your stuff during the sculpting process if you started from dynamesh so it’s no big deal how you do it if it’s looks good
一开始，我尽可能保持衣服和盔甲的低聚，这是必要的，以便在整个作品中保持雕塑的清洁，特别是如果你使用风格化。
然后，我开始在Maya中阻挡盔甲，并将我的草图导出到zbrush。
如果你从dynamesh开始，你也可以在雕刻过程中重新拓扑你的东西，所以如果它看起来不错，你如何做到这一点没什么大不了的。
Adding thickness
添加厚度
When a basic shape is done, I start adding the thickness to the armor with panel loops.
当基本形状完成后，我开始用面板环为装甲增加厚度。
Then I break it into polygroups and add creases. Usually, I keep such stuff as armor with dynamic subdivisions almost until the end of the sculpting work It allows the model not to be very heavy and it’s much easier to adjust shapes if I need
然后我把它分成多组并添加折痕。通常，我几乎一直保留带有动态细分的盔甲之类的东西，直到雕刻工作结束，它允许模型不会很重，如果我需要，调整形状会容易得多。

更多精彩图片 请登录

If the model seems too low poly in the start, you can always add 1-2 subdivision levels to keep beautiful curves on the armor.
Also do not forget about the borders, they give the armor stylized look.
如果模型在开始时看起来太低，你可以随时添加1-2个细分级别，以保持盔甲上美丽的曲线。
也不要忘记边界，它们赋予了盔甲风格化的外观。

更多精彩图片 请登录

When the main shape of the armor is ready, I began to sketch where the roses and vines will be.
For the vines, I made a separate brush, it is not much different from the standard hair brush, only flatter.
当盔甲的主要形状准备就绪时，我开始勾勒出玫瑰和藤蔓的位置。
对于藤蔓，我做了一个单独的刷子，它与标准发刷没有太大区别，只是更扁平。
Here’s a great tutorial from Danny Mac on how to make your own brush.
这是Danny Mac关于如何制作自己的画笔的精彩教程。
https://www.youtube.com/watch?v=8YYfq3fqS6k&ab_channel=DannyMac3D
Next, I start to build the main folds on the clothes
接下来，我开始在衣服上构建主要的褶皱

更多精彩图片 请登录

I made roses on the head with the help of ArrayMesh function.
我在ArrayMesh功能的帮助下在头上做了玫瑰花。
I did only one petal and generated it in a circle to quickly create a base for work, then I finished the roses by hand so they don’t look boring.
我只做了一个花瓣，并在一个圆圈中生成它，以快速创建一个工作基础，然后我手工完成了玫瑰，这样它们看起来就不会无聊。
Here is a great guide on how to make a quick generation with ArrayMesh.
这是一个很好的指南，介绍如何使用ArrayMesh进行快速生成。
Roses on the armor I sculpted from scratch petal by petal, so there is no secret how to make them quickly. You only need some inspiration and patience here.
https://www.youtube.com/watch?v= ... nel=MaximeForveille
玫瑰花在盔甲上，我从头开始雕刻花瓣，所以没有秘密如何快速制作它们。你只需要一些灵感和耐心

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Hair+Finishing details
头发+整理细节
For hair firstly I focused on the curves, then I arranged the creases and added details.
对于头发，首先我专注于曲线，然后我安排折痕并添加细节。

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In the end, I’ve added details for the armor and created the brush for thorns.
Here is a tutorial for the VDM brush:
最后，我为盔甲添加了细节，并为荆棘创造了画笔。
以下是 VDM 画笔的教程：
https://www.youtube.com/watch?v= ... nnel=FlippedNormals
Below I also show a small tip on creating spiral curves!
下面我还展示了一个关于创建螺旋曲线的小技巧！

更多精彩图片 请登录

更多精彩图片 请登录

Retopology / UV
Once the high poly is done, I decimated all objects and exported to Maya.
For low poly creation I used Quad Draw function.
再拓扑/紫外线
完成高多边形后，我逐量了所有对象并导出到Maya。
对于低多边形创建，我使用了四元绘制功能。
I recommend this tutorial to look how retopology with Quad Draw works.
我建议本教程来了解四边形绘制的重拓扑是如何工作的。
https://www.youtube.com/watch?v= ... nnel=FlippedNormals
For retopology, I collected references of models that were made for animation. Especially references for the face.
对于重拓扑，我收集了为动画制作的模型的参考。特别是面部参考。
It’s important that your topology repeats the shape of your high poly model, this will guarantee that everything go well during the bake.
After my retopology is done, I started unwrapping the character.
重要的是，您的拓扑结构必须重复高多边形模型的形状，这将保证在烘焙过程中一切顺利。
完成重新拓扑后，我开始解开角色的包装。
It is important always try to hide the UV seams as much as possible so that it doesn’t appear somewhere on the character later.
重要的是，总是尽可能地隐藏UV接缝，这样它以后就不会出现在角色的某个地方。

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Tip
If you are going to add a pattern to clothes in texturing stage, try to align the UV on the borders as much as possible
It’s guaranteed that there won’t be visible seams after texturing.
提示
如果您打算在纹理阶段为衣服添加图案，请尝试尽可能对齐边框上的UV
它保证在纹理化后不会有可见的接缝。
Baking
Before baking, I added gradients in Zbrush with polypaint.
烘
在烘焙之前，我用多面漆在Zbrush中添加了渐变。
After baking, you can put them in Substance and use it with different modes (like multiply for example)
It looks nicer than procedural gradients in Substance Painter and you have more control when doing your gradients by hand.
烘焙后，您可以将它们放入Substance中，并将其用于不同的模式（例如乘法），
它看起来比Substance Painter中的程序渐变更好，并且在手动进行渐变时，您可以更好地控制。

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Also, I used Zbrush to fill my vines with different solid colors and different stuff that I want to mask separately in Substance Painter later. It helps to mask all the objects with the same Color ID with the Color Selection feature.
此外，我使用Zbrush用不同的纯色和不同的东西填充我的藤蔓，我想稍后在Substance Painter中单独遮盖它们。它有助于使用“颜色选择”功能遮罩具有相同颜色 ID 的所有对象。

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I used Marmoset for baking
Baking in a Marmoset is more appropriate for me than in Substance Painter because you can set up a cage size and edit small mistakes, as well you can manually break everything into different groups.
我用狨猴进行烘焙
在狨猴中烘焙比在Substance Painter中更适合我，因为您可以设置笼子大小并编辑小错误，也可以手动将所有内容分解为不同的组。
And just for my opinion bakes seems to be much cleaner in Marmoset compared to Substance Painter.
After baking if you have some small issues, it’s okay to fix it in photoshop.
仅就我而言，与Substance Painter相比，狨猴的烘焙似乎要干净得多。
烘焙后，如果您有一些小问题，可以在photoshop中修复它。

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texturing
The texture was made in the Substance Painter
In this project, I tried to pay a lot of attention to gradients and color transitions
texturing
纹理是在Substance Painter
中制作的 在这个项目中，我试图非常关注渐变和颜色过渡。
Usually, when 20 percent of the texture is ready, I start setting up the scene in the Marmoset where I’ll do the final renders
Usually, for stylized projects, I keep my textures pretty simple and don’t overwork them with details
通常，当20%的纹理准备就绪时，我开始在Marmoset中设置场景，在那里我将进行最终渲染
通常，对于风格化的项目，我会保持纹理非常简单，并且不会过度处理细节。
Ready maps from Substance Painter.
来自物质画家的就绪地图。

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Here is a small tutorial on how I did a flow map for hair.
This map will allow you to give a healthy shine to your hair.
这是一个关于我如何为头发做一个流动图的小教程。
这张地图将让您为头发带来健康的光泽。

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Pose
When 80 percent of the texture was ready, I exported the low poly model to Zbrush and posed it with a Transpose Master plugin also on this stage I did a podium for my character.
姿势
当80%的纹理准备就绪时，我将低多边形模型导出到Zbrush，并用Transpose Master插件将其摆姿势，这也是在这个阶段，我为我的角色做了一个讲台。

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Lighting
I think the lighting in the scene is very important.
My character didn’t look decent until I spent enough time on the light setup
照明
我认为场景中的照明非常重要。
我的角色看起来并不体面，直到我花了足够的时间在灯光设置上
Unfortunately, there are no clear instructions on how to make good lighting and it is a very creative process so don’t shy to spend a lot of time on this stage, tweak the lights and shaders to get your better look.
Below is my light setup:
不幸的是，关于如何制作良好的照明没有明确的说明，这是一个非常有创意的过程，所以不要害羞地在这个舞台上花费大量时间，调整灯光和着色器以获得更好的外观。
以下是我的灯光设置：

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I borrowed the method of the black outline from my supervisor Fred, so I give a link to his tutorial:
我从我的主管弗雷德那里借用了黑色轮廓的方法，所以我给了他的教程一个链接：
https://www.artstation.com/artwork/0XxxEE
Final Note
Don’t be shy to redo things if it doesn’t look very well, it will pay off for sure.
And also don’t forget to have fun when creating your personal project. In the end, only these matter.
最后说明
如果它看起来不太好，不要害羞地重做事情，它肯定会得到回报。
而且不要忘记在创建个人项目时玩得开心。最后，只有这些才重要。
Big Thanks to my supervisor https://www.artstation.com/fredericarsenault and Think Tank students for the support!
非常感谢我的主管和智库学生的支持！
Thanks for reading!

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