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本帖最后由 孟中子 于 2023-9-16 17:33 编辑
Diego Sain has shared his workflow behind the Jezebel project, explained his approach to defining the character, and discussed the importance of having a clear idea early in the project about the final image's mood.
Diego Sain 分享了他在 Jezebel 项目背后的工作流程，解释了他定义角色的方法，并讨论了在项目早期对最终图像的情绪有一个清晰想法的重要性。
Introduction
My name is Diego Sain, and I am a Senior Character Artist with seven years of experience in the game industry. I have worked at Airship Image (Star Citizen), Rebellion (Zombie Army 4 and Sniper Elite 5), and finally Ubisoft (Assassin's Creed VR).
I believe that the biggest challenge for an artist is to maintain the desire to experiment and breathe life into new stories while balancing studio work and personal projects. This is why I never lose sight of the purpose of a personal project focusing on the result I want to achieve while being realistic about the time and energy available and prioritizing the work in the studio, with my team.
Now, to begin discussing my latest personal project, Jezebel, the first question I ask myself is: "What story do I want to tell?"
介绍
我叫 Diego Sain，是一名资深角色美术师，在游戏行业拥有七年经验。我曾在 Airship Image（星际公民）、Rebellion（Zombie Army 4 和 Sniper Elite 5）以及 Ubisoft（刺客信条 VR）工作过。
我认为艺术家面临的最大挑战是在平衡工作室工作和个人项目的同时，保持对新故事进行实验和注入活力的渴望。这就是为什么我从不忽视个人项目的目的，专注于我想要实现的结果，同时对可用的时间和精力保持现实，并与我的团队一起优先考虑工作室的工作。
现在，要开始讨论我最新的个人项目 Jezebel，我问自己的第一个问题是：“我想讲什么故事？”
The Jezebel Project
My first approach to defining who Jezebel is was to develop the character through quick sculpting of her hands and clothes. I believe that these elements are crucial in telling a character's story. By creating these quick sculpts (which take no more than a week) I can determine if it's worth delving deeper into this character's story.
Jezebel项目
我定义 Jezebel 是谁的第一个方法是通过快速雕刻她的手和衣服来发展这个角色。我相信这些元素对于讲述角色的故事至关重要。通过创建这些快速造型（不超过一周），我可以确定是否值得深入研究这个角色的故事。
The first and most natural mood that emerged from the sculpts was a character that blended influences from the Brothers Grimm's tales and H. P. Lovecraft's books. This character conveyed a sinister and mysterious secret about a woman and her relationship with a creature.
At this stage of the project, most of the time is devoted to gathering references. If the focus is solely on collecting references at this point, the production process can be faster and more efficient.
从雕塑中出现的第一个也是最自然的情绪是一个融合了格林兄弟童话和 H. P. Lovecraft 书籍影响的角色。这个角色传达了一个关于女人及其与生物关系的险恶而神秘的秘密。
在项目的这个阶段，大部分时间都用于收集参考资料。如果此时只专注于收集参考资料，则制作过程会更快、更高效。
The Face and the Head
I'm not a fan of portraits or extreme photorealism; my main goal is to tell a story in the most believable way possible and to define my personal style.
However, when it comes to the face, I always start by searching for references of a specific character to determine basic proportions and features before making the character more personalized. I begin sculpting with a good base mesh and divide the face into different poly groups to facilitate sculpting the details. To create skin details, I use the XYZ alpha skin packs, which allow for an organic workflow that adapts well to the final result I want to achieve.
One of the first elements I define is the eyes. I start with a simple base mesh modeled in Maya and find the sculpt of the sclera particularly interesting. This detail, combined with a good texture, gives a lot of personality to the character. One of the goals of this project was to return to working with XGen. This is why at this stage, I work on the style and volume of the hair through several tests to understand how it interacts with the hat.
脸和头
我不喜欢肖像画或极端写实主义；我的主要目标是以尽可能最可信的方式讲述一个故事，并定义我的个人风格。
然而，当涉及到面部时，我总是先搜索特定角色的参考资料，确定基本的比例和特征，然后再使角色更加个性化。我开始使用良好的基础网格进行雕刻，并将面部分成不同的多边形组，以便于雕刻细节。为了创建皮肤细节，我使用了 XYZ alpha 皮肤包，它允许有机工作流程很好地适应我想要实现的最终结果。
我定义的第一个元素是眼睛。我从一个在 Maya 中建模的简单基础网格开始，发现巩膜的造型特别有趣。这个细节与良好的质感相结合，赋予角色很多个性。该项目的目标之一是重新使用 XGen。这就是为什么在这个阶段，我通过几次测试来研究头发的风格和体积，以了解它如何与帽子相互作用。
The Outfit and the Dolls
The outfit and embroideries are the parts of the character that hold the most secrets and revelations about Jezebel's story. The initial sculpts were critical in defining the style and certain workflows. In addition to Jezebel's main outfit, I also focused on the outfits of the three dolls, trying to differentiate them from each other with various details and decorations which is why the reference work had to be thorough. The most significant challenge during the process was defining the design and determining the appropriate level of detail for the story without overwhelming the character.
Since there was no defined concept at the outset, the process involved many back-and-forths. However, once the right combination had been found, sculpting the clothes became the most interesting part of the whole process. In this project, I did not use Marvelous Designer, except for creating support alpha. Instead, I opted for a classic ZBrush sculpt as an exercise in the theory of folds, trying to bring each material to life through volume, tension, and surface details. I believe this is also an essential exercise for both classic Marvelous Designer workflow and sculpting.
衣服和娃娃
服装和刺绣是这个角色的一部分，也是耶洗别故事中隐藏最多的秘密和启示。最初的造型对于定义风格和某些工作流程至关重要。除了耶洗别的主装外，我还着重研究了三个人偶的装束，试图通过各种细节和装饰来区分它们，这就是参考工作必须彻底的原因。在此过程中最重大的挑战是定义设计并确定故事的适当细节级别，同时又不会压倒角色。
由于一开始没有明确的概念，这个过程涉及很多来回。然而，一旦找到合适的组合，雕刻衣服就成了整个过程中最有趣的部分。在这个项目中，除了创建支持 alpha 之外，我没有使用 Marvelous Designer。相反，我选择了经典的 ZBrush 造型作为折叠理论的练习，试图通过体积、张力和表面细节使每种材料栩栩如生。我相信这也是经典 Marvelous Designer 工作流程和雕刻的基本练习。
Texturing
From personal experience, the biggest danger in a personal project that thrives on scraps of time while working in the studio is losing interest during the technical steps. In order not to fall into this black hole and stay motivated, I always try to vary the approach and use the programs in a creative way and look for new ways to tell my story while balancing the time available.
For the organic parts, I used a classic workflow. The UVs were created in Maya and ZBrush, and the bakes were done in Substance 3D Painter. In the texture phase, I started with a basic skin texture transferred to my mesh with R3DS WRAP 4D. The work in Substance 3D Painter was focused on finding the desired skin tone and adding details that make the character more unique and integrated into the story. For instance, I added light makeup to give Jezebel a creepier look.
For the clothes, I tried a different approach. I have always wanted to experiment with a new workflow that mainly focuses on Arnold's materials and learn more about the look dev process. With this approach, it was very interesting to balance and detail the many elements present in the scene, and it gave me the opportunity to spend more time improving myself in XGen.
纹理
根据个人经验，在工作室工作时依靠零碎时间兴旺发展的个人项目的最大危险是在技术步骤中失去兴趣。为了不陷入这个黑洞并保持动力，我总是尝试改变方法并以创造性的方式使用程序，并在平衡可用时间的同时寻找新的方式来讲述我的故事。
对于有机部分，我使用了经典的工作流程。UV 是在 Maya 和 ZBrush 中创建的，烘焙是在 Substance 3D Painter 中完成的。在纹理阶段，我开始使用 R3DS WRAP 4D 将基本皮肤纹理转移到我的网格中。Substance 3D Painter 的工作重点是找到所需的肤色并添加细节，使角色更加独特并融入故事中。例如，我添加了淡淡的妆容，让 Jezebel 看起来更怪异。
对于衣服，我尝试了不同的方法。我一直想尝试一个主要关注 Arnold 材料的新工作流程，并了解更多有关外观开发过程的信息。通过这种方法，平衡和细化场景中存在的许多元素非常有趣，它让我有机会花更多时间在 XGen 中改进自己。
Rendering
The lighting and rendering phase was done in Maya and Arnold. The general mood is one of the first elements I dedicate time to when collecting references. It is of fundamental importance to have a clear idea early in the project about the final image's mood in terms of light and composition.
Once I reach this point, I spend a lot of time placing and balancing the lights in the scene. To make this process easier, I tend to use as few lights as possible. I dedicate a lot of time to this phase, going through many tests because I want to achieve the desired feeling directly in the render and limit the post-production phase to simple touch-ups of the background and slight adjustments of light and tone.
渲染
照明和渲染阶段是在 Maya 和 Arnold 中完成的。总体情绪是我在收集参考资料时投入时间的首要因素之一。在项目早期就光线和构图方面的最终图像情绪有一个清晰的想法是至关重要的。
达到这一点后，我会花费大量时间放置和平衡场景中的灯光。为了使这个过程更容易，我倾向于使用尽可能少的灯。我在这个阶段投入了大量时间，进行了许多测试，因为我想直接在渲染中获得所需的感觉，并将后期制作阶段限制为对背景进行简单的修饰以及对光线和色调进行轻微调整。
Conclusion
It was one of the projects to which I devoted the most time because, starting from the initial sculpts, I wanted to deeply understand Jezebel and tell her story as completely as possible. At the same time, I wanted to look for alternative workflows, experiment, and find creative solutions, which is also required in production.
This process always takes up more time than expected, but in the end, you have much more than just an image for the portfolio. I think it is essential to leave something personal in each of your characters and tell something about yourself. If you get stuck on an element, take breaks with other relaxing work, such as an anatomy sculpt or sketch, and then return to the problem with a different perspective.
结尾
这是我投入最多时间的项目之一，因为从最初的雕塑开始，我想深入了解耶洗别并尽可能完整地讲述她的故事。同时，我想寻找替代的工作流程，进行实验，找到创造性的解决方案，这在生产中也是需要的。
这个过程总是比预期花费更多的时间，但最终，您拥有的不仅仅是作品集的图像。我认为在你的每个角色中留下一些个人的东西并讲述你自己是很重要的。如果你卡在一个元素上，休息一下，做其他放松的工作，比如解剖造型或素描，然后以不同的视角回到问题上。
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