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本帖最后由 七月纪旅。 于 2022-8-12 15:01 编辑
Introduction
Hello there. I’m Steve Lee, I am specialized in Character modeling and texturing.
介绍
嗨，你好。我是史蒂夫·李（Steve Lee），我专门从事角色建模和纹理。
Goals
The Botanist Witch was created during Weston’s CGMA course. My main goals here were to learn the hand painting process and to have a great portfolio piece.
目标
植物学家女巫是在韦斯顿的CGMA课程期间创建的。我在这里的主要目标是学习手绘过程，并拥有一个伟大的作品集。
Software
Software: PureRef, ZBrush, Maya, mGear, Substance Painter, 3DCoat and Marmoset Toolbag 3 & 4.
软件
软件：PureRef，ZBrush，Maya，mGear，Substance Painter，3DCoat和Marmoset Toolbag 3和4。
References & Inspiration
The amazing concept is from Ian Su. https://www.artstation.com/artwork/Nx8Naz
参考和灵感
这个惊人的概念来自Ian Su。https://www.artstation.com/artwork/Nx8Naz
In my PureRef, I have lots of references that I collected along the way. They were separated into four sections for different phases.
1. Modeling
2. Clothing
3. Texturing
4. Lighting/ Presentation
在我的PureRef中，我有很多参考资料，我一路上收集了这些参考资料。它们被分成四个部分，用于不同的阶段。
1. 建模
2.服装
3.纹理
4.照明/演示
Modelling Workflow
For blockout, I used Maya. Keeping the polygons low made my life easier, so I can use those as my final low poly and work my way up to high res without having to retopologize.
Once the blockout was done, I started sculpting the head. The key is to focus on the proportion and primary shapes. I used DamStandard, Smooth, Inflate and TrimDynamic brushes to create clean, stylized shapes.
Even though I was not 100% satisfied with the face (it was a bit too realistic and not young or cute enough) I knew I can address those in the texturing phase.
建模工作流程
对于 blockout，我使用了 Maya。保持低多边形使我的生活更轻松，因此我可以将它们用作最后的低多边形，并逐步提高到高分辨率，而无需重新拓扑。
一旦封锁完成，我开始雕刻头部。关键是要关注比例和主要形状。我使用 DamStandard、Smooth、Inflate 和 TrimDynamic 画笔来创建干净、风格化的形状。
尽管我对这张脸不是100%满意（它有点太逼真了，不够年轻或可爱），但我知道我可以在纹理阶段解决这些问题。
Hair
The braids took me a while to figure out. II looked up some tutorials to find the one that suits my case. After the basic shapes were done, I used the bend, twist and taper Deformers in Maya to give it a bit of style.
As for the hair, I modeled it in ZBrush with spheres and ZBrush’s deformer. This was a technique I learned from Danny Mac’s YouTube tutorial. And used DamStandard for further stylization.
头发
辫子花了我一段时间才弄清楚。II查找了一些教程，以找到适合我的情况的教程。基本形状完成后，我使用Maya中的弯曲，扭曲和锥形变形器来赋予它一点风格。
至于头发，我用球体和ZBrush的变形器在ZBrush中建模。这是我从Danny Mac的YouTube教程中学到的一种技术。并使用DamStandard进行进一步的风格化。
Clothing
For the rose, I modeled one petal, duplicated it, and scaled it a couple of times to mash it together. For its lowpoly, I kept the outer petals and replaced the inner one with a sphere. This way I don’t need to worry about bad bakes and have a better time painting them.
It’s pretty straightforward afterward for the hat, belts and clothing. I imported my blockout meshes into ZBrush and gave them a couple of folds. Most of the sculpting details were used later as guidelines for my hand-painting phase.
衣服
对于玫瑰，我模仿了一片花瓣，复制了它，然后缩放了几次以将其捣碎在一起。对于它的低洼，我保留了外层花瓣，并用球体代替了内层花瓣。这样，我就不必担心糟糕的烘焙，并有更好的时间涂漆。
之后，帽子，皮带和衣服都非常简单。我将我的块状网格导入ZBrush并给它们几个折叠。大多数雕刻细节后来被用作我手绘阶段的指南。
UVing/Baking
The only thing worth mentioning for UVing is that I gridified the hat’s UVs. It is a lot easier to tile the patterns with straight UVs.
UVing/烘焙
对于UVing来说，唯一值得一提的是，我把帽子的UV网格化了。使用直UV平铺图案要容易得多。
Baking, I used Substance Painter. I named the high and low polys, then baked out two AOs (one for only self occlusion, another for everything occluded). I also baked curvature, position and world space normal maps for my next procedural texturing phase. With some quick fixes in Photoshop for minor artifacts.
烘焙，我用了Substance Painter。我命名了高多边形和低多边形，然后烘烤出两个AO（一个仅用于自闭塞，另一个用于所有被遮挡的东西）。我还为下一个程序纹理阶段烘焙了曲率，位置和世界空间法线图。在Photoshop中对次要工件进行了一些快速修复。
Texturing
In the class, Weston taught us to do the greyscale first before going in full color. I can quickly produce a good greyscale base using baked maps with procedural filters. I used three groups of layers.
The first one consisted of the AO generator, Raw Curvature, Top Down Gradient and a Light filter to give some subtle shadow.
The second one is just the values I color-picked from the concept and set them to multiply or screen to lay on top of the first group.
The final one is extra AO and Curvature. I also added a Substance built-in “Baked Light Stylized” filter, this one will pick up the metallic and roughness values and feed into the color.
Combining these three groups together, now we have a solid greyscale to import into 3DCoat for further refinement.
纹理
在课堂上，韦斯顿教我们先做灰度，然后再全彩色。我可以使用带有程序过滤器的烘焙地图快速生成良好的灰度基础。我使用了三组图层。
第一个由AO发生器，原始曲率，自上而下渐变和光滤镜组成，以提供一些微妙的阴影。
第二个只是我从概念中挑选的颜色值，并将它们设置为乘法或屏幕以放在第一组之上。
最后一个是额外的AO和曲率。我还添加了一个内置的物质“烘焙光风格化”滤镜，这个滤镜将拾取金属和粗糙度值并输入到颜色中。
将这三个组组合在一起，现在我们有一个坚实的灰度可以导入到3DCoat中以进行进一步完善。
Proceeding into the hand painting stage (3DCoat), I started with the face since it didn’t look too good only with the bakes. While painting I also tried to find more references to see how others paint.
Put them side by side to judge how my values look in comparison. It was also enjoyable to see how fast the character can change with only a few strokes.
I don’t have any special tips for painting. But I think understanding how each material reacts to light is essential. Analyzing and giving notes to myself was also helpful!
进入手绘阶段（3DCoat），我从脸部开始，因为它看起来不太好，只有烤面包。在绘画时，我也试图找到更多的参考资料，看看别人是如何画画的。
将它们并排放置，以判断我的值在比较中的外观。看到角色在短短几笔就能改变得有多快，也很有趣。
我没有任何特别的绘画技巧。但我认为了解每种材料如何对光做出反应至关重要。分析和给自己做笔记也很有帮助！
This was still just greyscale, once it reached a level I re-import it back to Substance Painter for the first color pass. The Gradient Filter is great for generating the color, it takes the values from greyscale and turns them into the color of your choice.
I did the Color Gradient for all the parts with little adjustments, nothing too fancy. And it started to look pretty good.
这仍然只是灰度，一旦达到一个级别，我就会将其重新导入到Substance Painter进行第一次颜色传递。渐变滤镜非常适合生成颜色，它从灰度中获取值并将其转换为您选择的颜色。
我为所有部分做了颜色渐变，几乎没有调整，没有什么太花哨的。它开始看起来相当不错。
After that, I went back to 3DCoat to polish and add color variations. To hint at where the light source comes from, I also painted in a more defined shadow and highlighted her face.
之后，我回到3DCoat进行抛光并添加颜色变化。为了暗示光源的来源，我还画了一个更明确的阴影，突出了她的脸。
Polish and Lighting
Finally, for the presentation, I baked out some lights from Marmoset Toolbag 3. In this case, one key light and two rim lights. Imported them into Substance Painter and set them to ColorDodge and Screen. I also inverted the lights to use them as shadows to get more contrast. And that is it for all the texturing!
抛光和照明
最后，为了演示，我从Marmoset Toolbag 3中烘焙了一些灯光。在本例中，一个主键灯和两个轮辋灯。已将它们导入到 Substance Painter 中，并将它们设置为 ColorDodge 和 Screen。我还反转了灯光，将它们用作阴影以获得更大的对比度。这就是所有的纹理！
Rigging & Posing
Weston encouraged us to do some animation and rigging. Although I was initially reluctant, it wasn’t too bad once I started it. We used mGear for rigging, which is really easy even for my crappy rigging skills.
For her animation, I listed out all her possible personalities: shy, optimistic, thoughtful, etc… And tried to find some references representing those traits. I found the idle animation collection from Genshin Impact and an interview with Rooney Mara from Conan’s show.
These helped me to have a rough idea of how to pose my character and display her personality. Through trial and error and lots of tutorials, I got a somewhat okay animation out of it.
Rigging & Posing
Weston鼓励我们做一些动画和rigging。虽然我最初很不情愿，但一旦我开始，情况就不太糟糕了。我们使用mGear进行索具，即使对于我蹩脚的索具技能来说，这也很容易。
对于她的动画，我列出了她所有可能的个性：害羞，乐观，体贴，等等......并试图找到一些代表这些特征的参考资料。我找到了《Genshin Impact》中闲置的动画集，以及柯南节目中对鲁尼·马拉（Rooney Mara）的采访。
这些帮助我大致了解了如何摆出我的角色并展示她的个性。通过反复试验和大量的教程，我从中得到了一个有点好的动画。
Conclusion
Overall, I really enjoyed the process of making this hand-painted character. It doesn’t have too many technical things I need to do compared to a realistic PBR character. So, I can just focus on the art side of things and paint, paint, paint.
For anyone interested in hand-painted characters, I strongly recommend Weston Reid’s course!
Huge thanks to Games Artist for publishing this article. And thanks for reading!
结论
总的来说，我真的很喜欢制作这个手绘角色的过程。与逼真的PBR角色相比，它没有太多我需要做的技术性事情。所以，我可以专注于事物的艺术方面，画画，画画，再画。
对于任何对手绘角色感兴趣的人，我强烈推荐韦斯顿·里德的课程！
非常感谢Games Artist发布这篇文章。感谢您的阅读！
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