Introduction
I’m Robin Isola, an aspiring Character Artist and currently Groom Artist. From a young age, I was always attracted to visual storytelling. I ended up studying 3D and cinema at Artfx, a school of visual effects in France. There I took an interest in characters and creatures and started practicing all the aspects of the making of those.
介绍
我是Robin Isola，一位有抱负的角色艺术家，目前是新郎艺术家。从很小的时候起，我就一直被视觉叙事所吸引。我最终在法国的一所视觉效果学院Artfx学习了3D和电影。在那里，我对角色和生物产生了兴趣，并开始练习制作这些角色和生物的各个方面。

更多精彩图片 请登录

The Banshee Project
The genesis of this project is a fun one. I was practicing some sculpting while listening to Heilung, an experimental folk music band. And one of the performers was on stage, dressed up in costume with a set of straps hiding the top part of her face, and it was such a striking look. It inspired the basis for this character that I further developed, pouring in my own influences, fantasy, and folklore on top.
班希项目
这个项目的起源很有趣。我在听实验性民谣乐队Heilung时练习一些雕塑。其中一位表演者在舞台上，穿着戏服，用一套带子遮住了她的脸部，这真是太引人注目了。它启发了我进一步发展的角色的基础，在上面倾注了我自己的影响，幻想和民间传说。

更多精彩图片 请登录

Sculpting
I started using a base mesh that I had done, and worked on primary shapes and anatomy variations such as the down-pointy ears and reducing to 4 fingers on hands and feet. I then moved on to carving the smile and posing on a set of layers so I could switch back to a neutral character when needed for detailing using symmetry.

All the assets and accessories were also done in ZBrush, retopologized either with ZRemesher or manually in Maya then imported back for further detailing. A notable exception would be the dress and belt, which I blocked out using Marvelous Designer, to get a nice realistic feeling in the way the fabric felt and wrapped.
雕刻
我开始使用我做过的基本网格，并研究了主要形状和解剖结构的变化，例如向下尖的耳朵，并在手和脚上减少到4个手指。然后，我继续雕刻微笑并在一组图层上摆姿势，这样我就可以在需要时切换回中性角色，以便使用对称性进行细节设计。

所有资源和配件也是在ZBrush中完成的，使用ZRemesher重新拓扑或在Maya中手动重新拓扑，然后导入回来以进行进一步的细节。一个值得注意的例外是连衣裙和腰带，我用Marvelous Designer将其屏蔽，以便在织物的感觉和包裹方式中获得良好的逼真感觉。

更多精彩图片 请登录

I already had clean topology but I decided to re-map my UVs with Maya on several UDIM tiles to improve the resolution, laying them out by individual meshes, while keeping the texel density coherent between the different assets.

I did the skin details using various brushes (J.Hill pores brushes for ZBrush, for instance) and a few custom alphas I made myself. I split my character into 2 different files later on, so I could work on the face with more resolution without resorting to using HD geometry, which doesn’t always work well with layers.
我已经有了干净的拓扑结构，但我决定在几个UDIM图块上使用Maya重新映射我的UV，以提高分辨率，按单个网格布置它们，同时保持不同资源之间的纹素密度一致。

我使用各种刷子（例如，ZBrush的J.Hill毛孔刷）和我自己制作的一些自定义alpha来做皮肤细节。我后来将我的角色分成2个不同的文件，这样我就可以在更高分辨率的脸上工作，而无需使用高清几何体，这并不总是适用于图层。

更多精彩图片 请登录

Hair
The hair was set up later in Maya, using XGen core with several descriptions for each part (top, back/under, braid, sides, hairline, peach fuzz, and a few extra stray hair descriptions).
毛
头发是后来在Maya中设置的，使用XGen核心，每个部分都有几种描述（顶部，背部/下方，辫子，侧面，发际线，桃毛绒和一些额外的杂乱头发描述）。

更多精彩图片 请登录

Retopology
I already had a clean topology but decided to re-map my UVs with Maya on several UDIM tiles to improve the resolution, laying them out by individual meshes, while keeping the texel density coherent between the different assets.
重新拓扑
我已经有了一个干净的拓扑结构，但决定在几个UDIM图块上使用Maya重新映射我的UV，以提高分辨率，按单个网格布置它们，同时保持不同资源之间的纹素密度一致。

更多精彩图片 请登录

Texturing
I decided to use ZBrush for texturing, which I’d never done before, usually preferring texturing software such as Mari or Substance 3D Painter. I chose ZBrush because, at the time of starting this project, I didn’t have access to licenses for Mari and SP.

I took the issue in stride and turned it into an interesting challenge. It was a tedious process, not having access to many procedural techniques to speed up the workflow. And I couldn’t rely too much on the look of my texturing inside ZBrush, so it was necessary to always go back and forth between the Maya scene and ZBrush. I made heavy use of the surface noise and masking features of ZBrush to replicate some of the more organic aspects. Such as skin pigmentation and imperfections, scratches and strokes on the wood mask, etc.
纹理
我决定使用ZBrush进行纹理处理，这是我以前从未做过的，通常更喜欢纹理软件，如Mari或Substance 3D Painter。我之所以选择ZBrush，是因为在开始这个项目的时候，我无法访问Mari和SP的许可证。

我从容应对这个问题，把它变成了一个有趣的挑战。这是一个繁琐的过程，无法访问许多程序技术来加快工作流程。我不能过分依赖我在ZBrush里面的纹理外观，所以有必要总是在Maya场景和ZBrush之间来回切换。我大量使用ZBrush的表面噪声和遮罩功能来复制一些更有机的方面。如皮肤色素沉着和瑕疵，木面具上的划痕和笔触等。

更多精彩图片 请登录

Lighting/Look Dev
The look dev was probably the most complex I’ve done so far, given the number of different surfaces. I experimented with Arnold's Layer shader node, for areas such as the face where I had a combination of skin, blood, and paint/makeup. I made a series of masks in ZBrush for this purpose.

The scene was set up and lit using Maya and Arnold, with a set of 4 area lights working alongside an HDRI set at a very low intensity serving as a fill light, giving a richer feel to the shadows and lighting environment.

I also decided to have fun with a little "cinematic" shot, remaking the entire lighting which had another HDRI with a medium intensity. A spotlight using a gobo to fake the sun of an early morning going through leaves and three other subtler area lights to complete the look.
照明/外观开发
外观开发可能是我迄今为止做过的最复杂的，考虑到不同表面的数量。我尝试了 Arnold 的 Layer 着色器节点，用于面部等区域，其中我混合了皮肤、血液和颜料/化妆品。为此，我在ZBrush中制作了一系列面具。

场景是使用Maya和Arnold设置和照明的，一组4个区域灯与HDRI一起工作，以非常低的强度作为补光，为阴影和照明环境带来更丰富的感觉。

我还决定用一点“电影”镜头来玩得开心，重新制作整个照明，其中有另一个中等强度的HDRI。一个聚光灯使用图案轮来伪造清晨的太阳穿过树叶和其他三个更微妙的区域灯光来完成外观。

更多精彩图片 请登录

Conclusion
I find that when working on realistic characters, the details can only work as well as the main modeling work. Essentially, if it doesn’t work with neutral lighting and a basic grey shader, the details will add very little to a flawed foundation. So I made sure my work was hitting all the right notes before even starting the detailing, texturing, and look dev.
结论
我发现在处理逼真的角色时，细节只能像主要的建模工作一样有效。从本质上讲，如果它不能与中性照明和基本的灰色着色器配合使用，那么细节对有缺陷的基础几乎没有什么帮助。因此，我确保我的作品在开始细节，纹理和外观开发之前就达到了所有正确的音符。

I started the project in February and finished it around two and a half months later, working on it in my spare time. The complexity of my original intent did take a bit of a toll after the first few weeks. So I decided at some point not to dwell too long on the details of less important areas. I had a clear idea of my final image and didn’t need to spend too much time on what wouldn’t even be noticeable in the final picture. That included areas such as clothed parts of the body or the hands and feet for instance. I do have in mind at some point in the future to do a 2.0 version of this character, finalizing every aspect to please my perfectionist tendencies.

For anyone interested in doing that type of work, the willingness to put in the hours to hone your skills will definitely pay back in kind after a while. Keep practicing the essentials, have fun and definitely be curious about other artists' workflow and tips. Always ask for feedback when in doubt and don’t fear to show your work to people!
我在二月份开始了这个项目，大约两个半月后完成了它，在业余时间工作。在最初的几个星期之后，我最初意图的复杂性确实造成了一些损失。因此，在某个时候，我决定不要在不太重要的领域的细节上花太多时间。我对我的最终图像有一个清晰的想法，不需要花太多时间在最终图像中甚至不会注意到的东西上。这包括身体的穿衣部位或手和脚等区域。我确实想过在未来的某个时候做一个这个角色的2.0版本，最终确定每个方面，以取悦我的完美主义倾向。

对于任何有兴趣做这种工作的人来说，愿意投入时间磨练你的技能肯定会在一段时间后得到回报。继续练习基本要素，玩得开心，绝对对其他艺术家的工作流程和技巧感到好奇。当有疑问时，总是要求反馈，不要害怕向人们展示你的作品！

Introduction
I’m Robin Isola, an aspiring Character Artist and currently Groom Artist. From a young age, I was always attracted to visual storytelling. I ended up studying 3D and cinema at Artfx, a school of visual effects in France. There I took an interest in characters and creatures and started practicing all the aspects of the making of those.
介绍
我是Robin Isola，一位有抱负的角色艺术家，目前是新郎艺术家。从很小的时候起，我就一直被视觉叙事所吸引。我最终在法国的一所视觉效果学院Artfx学习了3D和电影。在那里，我对角色和生物产生了兴趣，并开始练习制作这些角色和生物的各个方面。

更多精彩图片 请登录

The Banshee Project
The genesis of this project is a fun one. I was practicing some sculpting while listening to Heilung, an experimental folk music band. And one of the performers was on stage, dressed up in costume with a set of straps hiding the top part of her face, and it was such a striking look. It inspired the basis for this character that I further developed, pouring in my own influences, fantasy, and folklore on top.
班希项目
这个项目的起源很有趣。我在听实验性民谣乐队Heilung时练习一些雕塑。其中一位表演者在舞台上，穿着戏服，用一套带子遮住了她的脸部，这真是太引人注目了。它启发了我进一步发展的角色的基础，在上面倾注了我自己的影响，幻想和民间传说。

更多精彩图片 请登录

Sculpting
I started using a base mesh that I had done, and worked on primary shapes and anatomy variations such as the down-pointy ears and reducing to 4 fingers on hands and feet. I then moved on to carving the smile and posing on a set of layers so I could switch back to a neutral character when needed for detailing using symmetry.

All the assets and accessories were also done in ZBrush, retopologized either with ZRemesher or manually in Maya then imported back for further detailing. A notable exception would be the dress and belt, which I blocked out using Marvelous Designer, to get a nice realistic feeling in the way the fabric felt and wrapped.
雕刻
我开始使用我做过的基本网格，并研究了主要形状和解剖结构的变化，例如向下尖的耳朵，并在手和脚上减少到4个手指。然后，我继续雕刻微笑并在一组图层上摆姿势，这样我就可以在需要时切换回中性角色，以便使用对称性进行细节设计。

所有资源和配件也是在ZBrush中完成的，使用ZRemesher重新拓扑或在Maya中手动重新拓扑，然后导入回来以进行进一步的细节。一个值得注意的例外是连衣裙和腰带，我用Marvelous Designer将其屏蔽，以便在织物的感觉和包裹方式中获得良好的逼真感觉。

更多精彩图片 请登录

I already had clean topology but I decided to re-map my UVs with Maya on several UDIM tiles to improve the resolution, laying them out by individual meshes, while keeping the texel density coherent between the different assets.

I did the skin details using various brushes (J.Hill pores brushes for ZBrush, for instance) and a few custom alphas I made myself. I split my character into 2 different files later on, so I could work on the face with more resolution without resorting to using HD geometry, which doesn’t always work well with layers.
我已经有了干净的拓扑结构，但我决定在几个UDIM图块上使用Maya重新映射我的UV，以提高分辨率，按单个网格布置它们，同时保持不同资源之间的纹素密度一致。

我使用各种刷子（例如，ZBrush的J.Hill毛孔刷）和我自己制作的一些自定义alpha来做皮肤细节。我后来将我的角色分成2个不同的文件，这样我就可以在更高分辨率的脸上工作，而无需使用高清几何体，这并不总是适用于图层。

更多精彩图片 请登录

Hair
The hair was set up later in Maya, using XGen core with several descriptions for each part (top, back/under, braid, sides, hairline, peach fuzz, and a few extra stray hair descriptions).
毛
头发是后来在Maya中设置的，使用XGen核心，每个部分都有几种描述（顶部，背部/下方，辫子，侧面，发际线，桃毛绒和一些额外的杂乱头发描述）。

更多精彩图片 请登录

Retopology
I already had a clean topology but decided to re-map my UVs with Maya on several UDIM tiles to improve the resolution, laying them out by individual meshes, while keeping the texel density coherent between the different assets.
重新拓扑
我已经有了一个干净的拓扑结构，但决定在几个UDIM图块上使用Maya重新映射我的UV，以提高分辨率，按单个网格布置它们，同时保持不同资源之间的纹素密度一致。

更多精彩图片 请登录

Texturing
I decided to use ZBrush for texturing, which I’d never done before, usually preferring texturing software such as Mari or Substance 3D Painter. I chose ZBrush because, at the time of starting this project, I didn’t have access to licenses for Mari and SP.

I took the issue in stride and turned it into an interesting challenge. It was a tedious process, not having access to many procedural techniques to speed up the workflow. And I couldn’t rely too much on the look of my texturing inside ZBrush, so it was necessary to always go back and forth between the Maya scene and ZBrush. I made heavy use of the surface noise and masking features of ZBrush to replicate some of the more organic aspects. Such as skin pigmentation and imperfections, scratches and strokes on the wood mask, etc.
纹理
我决定使用ZBrush进行纹理处理，这是我以前从未做过的，通常更喜欢纹理软件，如Mari或Substance 3D Painter。我之所以选择ZBrush，是因为在开始这个项目的时候，我无法访问Mari和SP的许可证。

我从容应对这个问题，把它变成了一个有趣的挑战。这是一个繁琐的过程，无法访问许多程序技术来加快工作流程。我不能过分依赖我在ZBrush里面的纹理外观，所以有必要总是在Maya场景和ZBrush之间来回切换。我大量使用ZBrush的表面噪声和遮罩功能来复制一些更有机的方面。如皮肤色素沉着和瑕疵，木面具上的划痕和笔触等。

更多精彩图片 请登录

Lighting/Look Dev
The look dev was probably the most complex I’ve done so far, given the number of different surfaces. I experimented with Arnold's Layer shader node, for areas such as the face where I had a combination of skin, blood, and paint/makeup. I made a series of masks in ZBrush for this purpose.

The scene was set up and lit using Maya and Arnold, with a set of 4 area lights working alongside an HDRI set at a very low intensity serving as a fill light, giving a richer feel to the shadows and lighting environment.

I also decided to have fun with a little "cinematic" shot, remaking the entire lighting which had another HDRI with a medium intensity. A spotlight using a gobo to fake the sun of an early morning going through leaves and three other subtler area lights to complete the look.
照明/外观开发
外观开发可能是我迄今为止做过的最复杂的，考虑到不同表面的数量。我尝试了 Arnold 的 Layer 着色器节点，用于面部等区域，其中我混合了皮肤、血液和颜料/化妆品。为此，我在ZBrush中制作了一系列面具。

场景是使用Maya和Arnold设置和照明的，一组4个区域灯与HDRI一起工作，以非常低的强度作为补光，为阴影和照明环境带来更丰富的感觉。

我还决定用一点“电影”镜头来玩得开心，重新制作整个照明，其中有另一个中等强度的HDRI。一个聚光灯使用图案轮来伪造清晨的太阳穿过树叶和其他三个更微妙的区域灯光来完成外观。

更多精彩图片 请登录

Conclusion
I find that when working on realistic characters, the details can only work as well as the main modeling work. Essentially, if it doesn’t work with neutral lighting and a basic grey shader, the details will add very little to a flawed foundation. So I made sure my work was hitting all the right notes before even starting the detailing, texturing, and look dev.
结论
我发现在处理逼真的角色时，细节只能像主要的建模工作一样有效。从本质上讲，如果它不能与中性照明和基本的灰色着色器配合使用，那么细节对有缺陷的基础几乎没有什么帮助。因此，我确保我的作品在开始细节，纹理和外观开发之前就达到了所有正确的音符。

I started the project in February and finished it around two and a half months later, working on it in my spare time. The complexity of my original intent did take a bit of a toll after the first few weeks. So I decided at some point not to dwell too long on the details of less important areas. I had a clear idea of my final image and didn’t need to spend too much time on what wouldn’t even be noticeable in the final picture. That included areas such as clothed parts of the body or the hands and feet for instance. I do have in mind at some point in the future to do a 2.0 version of this character, finalizing every aspect to please my perfectionist tendencies.

For anyone interested in doing that type of work, the willingness to put in the hours to hone your skills will definitely pay back in kind after a while. Keep practicing the essentials, have fun and definitely be curious about other artists' workflow and tips. Always ask for feedback when in doubt and don’t fear to show your work to people!
我在二月份开始了这个项目，大约两个半月后完成了它，在业余时间工作。在最初的几个星期之后，我最初意图的复杂性确实造成了一些损失。因此，在某个时候，我决定不要在不太重要的领域的细节上花太多时间。我对我的最终图像有一个清晰的想法，不需要花太多时间在最终图像中甚至不会注意到的东西上。这包括身体的穿衣部位或手和脚等区域。我确实想过在未来的某个时候做一个这个角色的2.0版本，最终确定每个方面，以取悦我的完美主义倾向。

对于任何有兴趣做这种工作的人来说，愿意投入时间磨练你的技能肯定会在一段时间后得到回报。继续练习基本要素，玩得开心，绝对对其他艺术家的工作流程和技巧感到好奇。当有疑问时，总是要求反馈，不要害怕向人们展示你的作品！