Introduction
Hello there! My name is Romain Chauliac but I'm most known as Wizix. I’m a French CG Artist. I started doing CG at 15 years old in 2005 on the Carrara software and Hexagon trying to find resources and learn by myself, then I switched to Cinema 4D.
介绍
嗨，你好！我的名字是Romain Chauliac，但我最出名的是Wizix。我是一名法国CG艺术家。2005年，我15岁时开始在卡拉拉软件和Hexagon上做CG，试图找到资源并自己学习，然后我切换到Cinema 4D。

In 2009, I sold my first tutorial and earned my first money thanks to 3D. It made me realize that I can turn this hobby into a real job. After I graduated from ArtFX in 2013, I decided to not go to a studio and keep developing my independent work, selling tutorials and scripts. People often ask me which studio I work at or if I’m a freelancer. I am neither as I have worked hard for 17 years to live from my passion.
2009年，我卖掉了我的第一个教程，并通过3D赚了我的第一笔钱。这让我意识到，我可以把这种爱好变成一份真正的工作。2013年从ArtFX毕业后，我决定不去工作室，继续开发我的独立作品，销售教程和脚本。人们经常问我在哪个工作室工作，或者我是自由职业者。我既不是，因为我已经努力工作了17年，以从我的激情中生活。

I always try to push my skill further and never keep in my “comfort zone”. I also define myself as more of a technical artist than a concept artist because I always use references. But that doesn’t mean I just copy/paste a reference, you know, what I like the most is to take a strong concept art from a crazy artist that has put a story, a character, framing, etc., and turn it into CG, in a way of giving this image even more life and realism! It’s what I did with the Dr. Wayne project, which is based on Johnson Ting's concept art. I love what he did with only one image, it took me about 1 year to recreate it, taking time on each aspect, doing a lot of research, R&D, etc. It took me 1 month just to find the right placement for each area light.
我总是试图进一步提高我的技能，从不留在我的“舒适区”。我也把自己定义为一个技术艺术家，而不是一个概念艺术家，因为我总是使用参考资料。但这并不意味着我只是复制/粘贴一个参考，你知道，我最喜欢的是从一个疯狂的艺术家那里获取一个强大的概念艺术，把一个故事，一个角色，框架等，并把它变成CG，以某种方式给这个形象更多的生命和现实主义！这就是我对韦恩博士项目所做的，这个项目是基于约翰逊·丁的概念艺术。我喜欢他只用一张图片所做的，我花了大约1年的时间重新创建它，在每个方面都花时间，做了大量的研究，研发等等。我花了1个月的时间才为每个区域灯找到合适的位置。



Dr. Wayne

The Face of Bitcoin Project
The idea for the Nakamoto project came after I sold some of my previous art as NFT. I always like to do personal stuff in CG but as a freelancer, it’s always difficult to dedicate months of work to a non-paid project. It's the main reason why I like NFT.

After my first sales earning, I said to myself, let's try to do a dedicated NFT art that will be personal work and a tutorial! Just before that, I did a survey asking all my customers which subject they would like to see the most in my next tutorial, and the answer was "how to create a realistic character". So I created an image that supports all those points.
比特币项目的面貌
中本聪项目的想法是在我把以前的一些艺术品作为NFT出售之后提出的。我总是喜欢在CG中做个人的事情，但作为一名自由职业者，总是很难将几个月的工作投入到一个无偿项目上。这是我喜欢NFT的主要原因。

在我第一次获得销售收入后，我对自己说，让我们尝试做一个专门的NFT艺术，这将是个人工作和教程！就在那之前，我做了一个调查，询问我的所有客户，他们最想在我的下一个教程中看到哪个主题，答案是“如何创建一个逼真的角色”。因此，我创建了一个支持所有这些点的图像。

I’m a CG generalist but more specialized in hard surface stuff, and it’s been a while since my last organic project, so I tried to get all the chances on my side by carefully choosing the right character. There is a well-known fact that it’s “easier” to do an aged character because of wrinkle details. Also, I wanted to replicate a photo. This way, I’d have all the information in the reference. It’s what I also did for the previous Automata project, and for me, it’s the key to realism: follow the reference as closely as possible.

This way, even without strong anatomy skills you can expect a great result because you just have to do it and refine it until you match the reference.
我是一名CG通才，但更擅长硬表面的东西，距离我上一个有机项目已经有一段时间了，所以我试图通过仔细选择合适的角色来获得所有的机会。有一个众所周知的事实是，由于皱纹细节，做一个老化的角色“更容易”。另外，我想复制一张照片。这样，我就可以在参考文献中获取所有信息。这也是我为之前的Automata项目所做的，对我来说，这是现实主义的关键：尽可能密切地遵循参考。

这样，即使没有强大的解剖学技能，您也可以期待一个很好的结果，因为您只需要这样做并对其进行完善，直到您与参考相匹配。

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When it comes to Satoshi Nakamoto's story, I know there are a lot of people that will tell me that he's not the real Bitcoin creator, but it’s not the point here, and it’s why I called the project the Face of Bitcoin. For me, even if we found the real person or group that created Bitcoin, Dorian Nakamoto will keep being the portrait associated with Bitcoin because he's been chosen, he matches the imaginary vision that we have.
当谈到中本聪（Satoshi Nakamoto）的故事时，我知道有很多人会告诉我，他不是真正的比特币创造者，但这不是重点，这就是为什么我把这个项目称为比特币的面孔。对我来说，即使我们找到了创造比特币的真实人物或团体，中本聪多里安（Dorian Nakamoto）也将继续成为与比特币相关的肖像，因为他被选中了，他符合我们想象的愿景。

R&D
As I’m more of a technical guy than an artistic one, what I like the most about a project is the R&D phase. I like to say, "Okay, I’ve found my idea, it is great, now I should test and find the best technical solution to do it."

You should do it before starting anything, before opening Maya or ZBrush. Just take time to think and plan how you’ll handle your project, what tools you want to test, etc. Generally, I have an idea for a project weeks or months before starting it (because I already have a project I should finish). This way, I have time to think about it, take notes, and add quotes every day when I think about it while I’m walking, driving, or doing anything out of CG. Then, the day I start the project, I already have a strong vision of how I’ll handle it.
研发
由于我更像是一个技术人员，而不是一个艺术人，我最喜欢一个项目的是研发阶段。我喜欢说，“好吧，我已经找到了我的想法，这很棒，现在我应该测试并找到最好的技术解决方案来做到这一点。

您应该在开始任何事情之前，在打开Maya或ZBrush之前执行此操作。只需花时间思考和计划如何处理项目，要测试哪些工具等。一般来说，在开始一个项目之前，我有一个关于项目的想法（因为我已经有一个项目应该完成）。这样，当我走路，开车或做任何CG之外的事情时，我每天都有时间思考它，做笔记并添加引号。然后，在我开始这个项目的那天，我已经对如何处理它有了一个强烈的愿景。

It’s also important to divide the entire project into more specific and little steps because it’s easier to handle. For this one, for example, I just said, "Okay, my first goal is to make a great sculpt, with the right likeness and feeling." The feeling is always my first and most important goal. I always try to just do a sample of the project for 2-3 days to see if that will work or not. It’s also security because as an independent artist you can’t lose 3 months on a project that will not succeed, you don’t have the right to make a mistake, so you need to be smart.
将整个项目划分为更具体和更小的步骤也很重要，因为它更容易处理。例如，对于这个，我只是说，“好吧，我的第一个目标是制作一个伟大的雕塑，具有正确的肖像和感觉。这种感觉始终是我的第一个也是最重要的目标。我总是尝试做一个项目的样本2-3天，看看这是否有效。这也是安全性，因为作为一个独立的艺术家，你不能在一个不会成功的项目上浪费3个月，你没有权利犯错误，所以你需要聪明。

Modeling
ZBrush
The ZBrush part was technically pretty simple, just a sphere, 4-5 basic brushes, then I tried to quickly sketch it. I don’t have strong anatomy knowledge but thanks to Kris Costa's awesome course and experience, I got all these little tips that helped me to get it right.
建 模
ZBrush
ZBrush部分在技术上非常简单，只是一个球体，4-5个基本画笔，然后我试图快速绘制它。我没有很强的解剖学知识，但多亏了Kris Costa的精彩课程和经验，我得到了所有这些小技巧，帮助我把它做好。

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At the beginning of each day, I first looked at my previous works in Photoshop with a fresh eye and took notes of what I should fix and work on today.
每天开始时，我首先以全新的眼光看待我以前在Photoshop中的作品，并记下了我今天应该修复和工作的内容。

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At this stage, don’t go too hard on subdivision, your sculpt should work without “fancy detail”, only focus on primary shape and overall mood.
在这个阶段，不要在细分上太费力，你的雕塑应该在没有“花哨的细节”的情况下工作，只关注主要形状和整体情绪。

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Maya
Once I was happy with my raw sculpt, it was time to create the main scene in Maya. It’s important to place a camera, to fit a size scale, block some first lights, etc.

I always try to use the simplest and most basic tools. I don’t like complex and automatic things. For example, I don’t like to work fully in EXR with 10 input connections on a shader imported from Substance 3D Painter. I prefer to work with simple .jpeg with only 2-3 necessary maps to keep the flexibility and prevent the project from becoming heavy. Flexibility is really important to avoid the uncanny valley effect at the point where you did everything right but your image doesn't work at all! Overall, import/export in .obj is the best way to work between Maya and ZBrush for me, you don’t need anything more.
玛雅
一旦我对我的原始雕塑感到满意，就该在玛雅中创建主要场景了。放置相机，以适应尺寸比例，阻挡一些第一盏灯等非常重要。

我总是尝试使用最简单，最基本的工具。我不喜欢复杂和自动的东西。例如，我不喜欢在 EXR 中完全工作，在从 Substance 3D Painter 导入的着色器上使用 10 个输入连接。我更喜欢使用简单的.jpeg只有2-3个必要的地图，以保持灵活性并防止项目变得沉重。灵活性对于避免在做对所有事情但图像根本不起作用时的不可思议的山谷效应非常重要！总的来说，在.obj中导入/导出是Maya和ZBrush之间工作的最佳方式，对我来说，你不需要更多。

So at this point, I have my head sculpt but I don’t go into detail, I first need to verify and refine the primary shapes. For that, I create glasses and clothes in Maya in traditional polygon modeling (no Marvelous Designer or fancy things here) because the goal is to match as much as possible to the reference.
所以在这一点上，我有我的头部雕刻，但我不详细介绍，我首先需要验证和完善主要形状。为此，我在玛雅（Maya）中以传统的多边形建模（这里没有Marvelous Designer或花哨的东西）创建眼镜和衣服，因为目标是尽可能地与参考相匹配。

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The Skin
For the skin detail, I first tried Kris Costa's technique, which is to place pores and wrinkles one by one, so I did that for hours and in the end, I was not happy with the result. I think it’s great and should work when you are a sculptor and have strong experience and knowledge about that, but it’s not my case.
皮肤
对于皮肤细节，我首先尝试了Kris Costa的技术，即逐个放置毛孔和皱纹，所以我做了几个小时，最后，我对结果不满意。我认为这很棒，当你是一名雕塑家并且对此有很强的经验和知识时，它应该工作，但事实并非如此。

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So I looked at another technique, the one using Texturing XYZ and Wrap3D: the result was way better in less time, plus it also did the texturing at the same time! I absolutely don’t care about "cheating techniques" or people complaining when you don’t do everything from scratch and use Megascans, Texuring XYZ, or MetaHuman. For me, only the result is important, doesn't matter if you have NGons or which renderer you use.
因此，我研究了另一种技术，即使用Texturing XYZ和Wrap3D的技术：结果在更短的时间内变得更好，而且它同时也进行了纹理处理！我绝对不在乎“作弊技巧”，或者当你没有从头开始做所有事情并使用Megascans，Texuring XYZ或MetaHuman时抱怨。对我来说，只有结果才是重要的，无论你有NGNS还是你使用哪个渲染器都没关系。

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So thanks to this, I have my raw Displacement and Color maps that I then just clean in Mari.
因此，多亏了这一点，我有了我的原始位移和彩色贴图，然后我就在Mari中清理了它们。

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The Hair
For hair, I don’t have anything special to say. Always the same: do your own research and test to know which of the XGen engines is the best for your project. Here, I use XGen Interactive, which allows hand-sculpting hairs one by one. I like it: the simplest tools are just needed to do things!
头发
对于头发，我没有什么特别的要说的。始终保持不变：进行自己的研究和测试，以了解哪种XGen引擎最适合您的项目。在这里，我使用XGen Interactive，它允许一个接一个地手工雕刻头发。我喜欢它：最简单的工具只需要做事！

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Rendering
For rendering, I used Arnold because why use any other renderer than the default one, which is perfectly integrated with Maya and well-known for its SSS quality?

I absolutely don’t care about the speed of a renderer. When you spend 3 months on a project, it’s not a problem for me to take 1 night to render one image. I use the GPU for all the development and in the end, I rendered using the CPU to have more control over sampling.
渲染
对于渲染，我使用了 Arnold，因为为什么使用除默认渲染器之外的任何其他渲染器，后者与 Maya 完美集成，并以其 SSS 质量而闻名？

我绝对不在乎渲染器的速度。当你在一个项目上花费3个月的时间时，对我来说，花1个晚上来渲染一个图像并不是问题。我使用GPU进行所有开发，最后，我使用CPU进行渲染，以便更好地控制采样。

As for compositing, there isn't any! Always the same: I like things simple, I'm not interested in exporting all AOVs to recomp them in Nuke for nothing. A good render doesn't need compositing.

I just put my final render in Photoshop for some extra final touch post-process effects.
至于合成，没有！总是一样的：我喜欢简单的东西，我不感兴趣导出所有AOV以在Nuke中无缘无故地重新组合它们。一个好的渲染不需要合成。

我只是将最终渲染放在Photoshop中，以获得一些额外的最终处理后期效果。

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Motivation
Motivation is a key point. When we talked about long projects, there was always the motivation side. First, you need to be passionate! If you prefer to play video games or do anything other than CG, you’re not passionate! Also, it’s why organization, planning, and R&D are so important. If you plan your project well at the beginning, then you know why you are doing it and that you’ll be able to finish it.
动机
动机是一个关键点。当我们谈论长期项目时，总是有动机的一面。首先，你需要充满激情！如果你喜欢玩电子游戏或做CG以外的任何事情，你就没有激情！此外，这也是为什么组织，规划和研发如此重要的原因。如果你在一开始就很好地规划了你的项目，那么你就知道你为什么要这样做，并且你将能够完成它。

Or if like almost 90% of people you just say, "Hey, this is so great, I’ll do that in CG" and then you open Maya and start modeling, you’ll never finish your project because it’s only an emotional instant project and not a really well-thought one (remember that I mostly think weeks before starting a project).
或者，如果像几乎90%的人一样，你只是说，“嘿，这太好了，我会在CG中做到这一点”，然后你打开Maya并开始建模，你永远不会完成你的项目，因为它只是一个情感即时项目，而不是一个真正经过深思熟虑的项目（请记住，我主要是在开始项目前几周思考）。

Of course, there is always this moment in the middle of the project when you don’t know if it’s good, if you’re heading in the right direction, etc., so just share it as a WIP! It's 2022, but I have never seen artists be shy to post their WIP. Everyone seems to work in the shadows and only posts the final work. I remember before Discord, there were forums like CGArena, Polycount, and ZBrushCentral, where everyone posted WIPs every day to get feedback.
当然，在项目进行到来时，总会有这样的时刻，你不知道它是否好，如果你正朝着正确的方向前进，等等，所以就把它作为WIP分享吧！现在是2022年，但我从未见过艺术家害羞地发布他们的WIP。每个人似乎都在阴影中工作，只发布最终作品。我记得在Discord之前，有像CGArena，Polycount和ZBrushCentral这样的论坛，每个人都每天发布WIP以获得反馈。

Today, I have Discord to help, but no one posts WIPs, they're just interested in the final image and getting likes.

Besides, in each of my projects, there is help from someone that gives me great advice that helps me to reach better quality.
今天，我有Discord可以提供帮助，但是没有人发布WIP，他们只是对最终图像感兴趣并获得喜欢。

此外，在我的每个项目中，都有人帮助我提供很好的建议，帮助我达到更好的质量。

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Conclusion
This project took me about 3 months, I recorded almost everything in this 40-hour tutorial.

It's impossible and not useful for you to watch 40 hours of footage, so there is also a 4-hour video divided into chapters with audio commentary and video editing where I explain all the necessary things to know. Then, you will be able to refer to the full Raw record video without editing to look more in-depth at how I apply the techniques. This way, it will be easier for you to follow and apply the techniques and it will also give you access to any subtle parts you would like to see.
结论
这个项目花了我大约3个月的时间，我在这个40小时的教程中记录了几乎所有的东西。

观看40小时的镜头是不可能的，也没有用，所以还有一个4小时的视频，分为几个章节，包括音频评论和视频编辑，我解释了所有必要的事情。然后，您将能够在不进行编辑的情况下参考完整的Raw录制视频，以更深入地了解我如何应用这些技术。这样，您将更容易遵循和应用这些技术，并且还可以让您访问您想要看到的任何微妙部分。
https://youtu.be/x8hkKO5y4rs

Everything is done with Maya, ZBrush, Arnold, XGen, and Wrap3D. I won't teach you the software or anatomy but you'll learn how to make an image. I don’t like school techniques where everything should follow rules, be done in order, etc. With this tutorial, I will try to explain to you how to do a CG portrait your own way, to be confident in what you do, and not try to find the infused knowledge or the perfect way but just do it! Be smart, be pro, be passionate, close everything, and just do CG.

Thank you for reading this interview, I hope that will help you with your projects.
一切都是用Maya，ZBrush，Arnold，XGen和Wrap3D完成的。我不会教你软件或解剖学，但你会学习如何制作图像。我不喜欢学校的技巧，一切都应该遵循规则，按顺序完成，等等。通过本教程，我将尝试向您解释如何以自己的方式制作CG肖像，对您所做的事情充满信心，而不是试图找到注入的知识或完美的方法，而只是这样做！要聪明，要专业，要有激情，关闭一切，然后做CG。

感谢您阅读此采访，我希望这对您的项目有所帮助。

Introduction
Hello there! My name is Romain Chauliac but I'm most known as Wizix. I’m a French CG Artist. I started doing CG at 15 years old in 2005 on the Carrara software and Hexagon trying to find resources and learn by myself, then I switched to Cinema 4D.
介绍
嗨，你好！我的名字是Romain Chauliac，但我最出名的是Wizix。我是一名法国CG艺术家。2005年，我15岁时开始在卡拉拉软件和Hexagon上做CG，试图找到资源并自己学习，然后我切换到Cinema 4D。

In 2009, I sold my first tutorial and earned my first money thanks to 3D. It made me realize that I can turn this hobby into a real job. After I graduated from ArtFX in 2013, I decided to not go to a studio and keep developing my independent work, selling tutorials and scripts. People often ask me which studio I work at or if I’m a freelancer. I am neither as I have worked hard for 17 years to live from my passion.
2009年，我卖掉了我的第一个教程，并通过3D赚了我的第一笔钱。这让我意识到，我可以把这种爱好变成一份真正的工作。2013年从ArtFX毕业后，我决定不去工作室，继续开发我的独立作品，销售教程和脚本。人们经常问我在哪个工作室工作，或者我是自由职业者。我既不是，因为我已经努力工作了17年，以从我的激情中生活。

I always try to push my skill further and never keep in my “comfort zone”. I also define myself as more of a technical artist than a concept artist because I always use references. But that doesn’t mean I just copy/paste a reference, you know, what I like the most is to take a strong concept art from a crazy artist that has put a story, a character, framing, etc., and turn it into CG, in a way of giving this image even more life and realism! It’s what I did with the Dr. Wayne project, which is based on Johnson Ting's concept art. I love what he did with only one image, it took me about 1 year to recreate it, taking time on each aspect, doing a lot of research, R&D, etc. It took me 1 month just to find the right placement for each area light.
我总是试图进一步提高我的技能，从不留在我的“舒适区”。我也把自己定义为一个技术艺术家，而不是一个概念艺术家，因为我总是使用参考资料。但这并不意味着我只是复制/粘贴一个参考，你知道，我最喜欢的是从一个疯狂的艺术家那里获取一个强大的概念艺术，把一个故事，一个角色，框架等，并把它变成CG，以某种方式给这个形象更多的生命和现实主义！这就是我对韦恩博士项目所做的，这个项目是基于约翰逊·丁的概念艺术。我喜欢他只用一张图片所做的，我花了大约1年的时间重新创建它，在每个方面都花时间，做了大量的研究，研发等等。我花了1个月的时间才为每个区域灯找到合适的位置。



Dr. Wayne

The Face of Bitcoin Project
The idea for the Nakamoto project came after I sold some of my previous art as NFT. I always like to do personal stuff in CG but as a freelancer, it’s always difficult to dedicate months of work to a non-paid project. It's the main reason why I like NFT.

After my first sales earning, I said to myself, let's try to do a dedicated NFT art that will be personal work and a tutorial! Just before that, I did a survey asking all my customers which subject they would like to see the most in my next tutorial, and the answer was "how to create a realistic character". So I created an image that supports all those points.
比特币项目的面貌
中本聪项目的想法是在我把以前的一些艺术品作为NFT出售之后提出的。我总是喜欢在CG中做个人的事情，但作为一名自由职业者，总是很难将几个月的工作投入到一个无偿项目上。这是我喜欢NFT的主要原因。

在我第一次获得销售收入后，我对自己说，让我们尝试做一个专门的NFT艺术，这将是个人工作和教程！就在那之前，我做了一个调查，询问我的所有客户，他们最想在我的下一个教程中看到哪个主题，答案是“如何创建一个逼真的角色”。因此，我创建了一个支持所有这些点的图像。

I’m a CG generalist but more specialized in hard surface stuff, and it’s been a while since my last organic project, so I tried to get all the chances on my side by carefully choosing the right character. There is a well-known fact that it’s “easier” to do an aged character because of wrinkle details. Also, I wanted to replicate a photo. This way, I’d have all the information in the reference. It’s what I also did for the previous Automata project, and for me, it’s the key to realism: follow the reference as closely as possible.

This way, even without strong anatomy skills you can expect a great result because you just have to do it and refine it until you match the reference.
我是一名CG通才，但更擅长硬表面的东西，距离我上一个有机项目已经有一段时间了，所以我试图通过仔细选择合适的角色来获得所有的机会。有一个众所周知的事实是，由于皱纹细节，做一个老化的角色“更容易”。另外，我想复制一张照片。这样，我就可以在参考文献中获取所有信息。这也是我为之前的Automata项目所做的，对我来说，这是现实主义的关键：尽可能密切地遵循参考。

这样，即使没有强大的解剖学技能，您也可以期待一个很好的结果，因为您只需要这样做并对其进行完善，直到您与参考相匹配。

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When it comes to Satoshi Nakamoto's story, I know there are a lot of people that will tell me that he's not the real Bitcoin creator, but it’s not the point here, and it’s why I called the project the Face of Bitcoin. For me, even if we found the real person or group that created Bitcoin, Dorian Nakamoto will keep being the portrait associated with Bitcoin because he's been chosen, he matches the imaginary vision that we have.
当谈到中本聪（Satoshi Nakamoto）的故事时，我知道有很多人会告诉我，他不是真正的比特币创造者，但这不是重点，这就是为什么我把这个项目称为比特币的面孔。对我来说，即使我们找到了创造比特币的真实人物或团体，中本聪多里安（Dorian Nakamoto）也将继续成为与比特币相关的肖像，因为他被选中了，他符合我们想象的愿景。

R&D
As I’m more of a technical guy than an artistic one, what I like the most about a project is the R&D phase. I like to say, "Okay, I’ve found my idea, it is great, now I should test and find the best technical solution to do it."

You should do it before starting anything, before opening Maya or ZBrush. Just take time to think and plan how you’ll handle your project, what tools you want to test, etc. Generally, I have an idea for a project weeks or months before starting it (because I already have a project I should finish). This way, I have time to think about it, take notes, and add quotes every day when I think about it while I’m walking, driving, or doing anything out of CG. Then, the day I start the project, I already have a strong vision of how I’ll handle it.
研发
由于我更像是一个技术人员，而不是一个艺术人，我最喜欢一个项目的是研发阶段。我喜欢说，“好吧，我已经找到了我的想法，这很棒，现在我应该测试并找到最好的技术解决方案来做到这一点。

您应该在开始任何事情之前，在打开Maya或ZBrush之前执行此操作。只需花时间思考和计划如何处理项目，要测试哪些工具等。一般来说，在开始一个项目之前，我有一个关于项目的想法（因为我已经有一个项目应该完成）。这样，当我走路，开车或做任何CG之外的事情时，我每天都有时间思考它，做笔记并添加引号。然后，在我开始这个项目的那天，我已经对如何处理它有了一个强烈的愿景。

It’s also important to divide the entire project into more specific and little steps because it’s easier to handle. For this one, for example, I just said, "Okay, my first goal is to make a great sculpt, with the right likeness and feeling." The feeling is always my first and most important goal. I always try to just do a sample of the project for 2-3 days to see if that will work or not. It’s also security because as an independent artist you can’t lose 3 months on a project that will not succeed, you don’t have the right to make a mistake, so you need to be smart.
将整个项目划分为更具体和更小的步骤也很重要，因为它更容易处理。例如，对于这个，我只是说，“好吧，我的第一个目标是制作一个伟大的雕塑，具有正确的肖像和感觉。这种感觉始终是我的第一个也是最重要的目标。我总是尝试做一个项目的样本2-3天，看看这是否有效。这也是安全性，因为作为一个独立的艺术家，你不能在一个不会成功的项目上浪费3个月，你没有权利犯错误，所以你需要聪明。

Modeling
ZBrush
The ZBrush part was technically pretty simple, just a sphere, 4-5 basic brushes, then I tried to quickly sketch it. I don’t have strong anatomy knowledge but thanks to Kris Costa's awesome course and experience, I got all these little tips that helped me to get it right.
建 模
ZBrush
ZBrush部分在技术上非常简单，只是一个球体，4-5个基本画笔，然后我试图快速绘制它。我没有很强的解剖学知识，但多亏了Kris Costa的精彩课程和经验，我得到了所有这些小技巧，帮助我把它做好。

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At the beginning of each day, I first looked at my previous works in Photoshop with a fresh eye and took notes of what I should fix and work on today.
每天开始时，我首先以全新的眼光看待我以前在Photoshop中的作品，并记下了我今天应该修复和工作的内容。

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At this stage, don’t go too hard on subdivision, your sculpt should work without “fancy detail”, only focus on primary shape and overall mood.
在这个阶段，不要在细分上太费力，你的雕塑应该在没有“花哨的细节”的情况下工作，只关注主要形状和整体情绪。

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Maya
Once I was happy with my raw sculpt, it was time to create the main scene in Maya. It’s important to place a camera, to fit a size scale, block some first lights, etc.

I always try to use the simplest and most basic tools. I don’t like complex and automatic things. For example, I don’t like to work fully in EXR with 10 input connections on a shader imported from Substance 3D Painter. I prefer to work with simple .jpeg with only 2-3 necessary maps to keep the flexibility and prevent the project from becoming heavy. Flexibility is really important to avoid the uncanny valley effect at the point where you did everything right but your image doesn't work at all! Overall, import/export in .obj is the best way to work between Maya and ZBrush for me, you don’t need anything more.
玛雅
一旦我对我的原始雕塑感到满意，就该在玛雅中创建主要场景了。放置相机，以适应尺寸比例，阻挡一些第一盏灯等非常重要。

我总是尝试使用最简单，最基本的工具。我不喜欢复杂和自动的东西。例如，我不喜欢在 EXR 中完全工作，在从 Substance 3D Painter 导入的着色器上使用 10 个输入连接。我更喜欢使用简单的.jpeg只有2-3个必要的地图，以保持灵活性并防止项目变得沉重。灵活性对于避免在做对所有事情但图像根本不起作用时的不可思议的山谷效应非常重要！总的来说，在.obj中导入/导出是Maya和ZBrush之间工作的最佳方式，对我来说，你不需要更多。

So at this point, I have my head sculpt but I don’t go into detail, I first need to verify and refine the primary shapes. For that, I create glasses and clothes in Maya in traditional polygon modeling (no Marvelous Designer or fancy things here) because the goal is to match as much as possible to the reference.
所以在这一点上，我有我的头部雕刻，但我不详细介绍，我首先需要验证和完善主要形状。为此，我在玛雅（Maya）中以传统的多边形建模（这里没有Marvelous Designer或花哨的东西）创建眼镜和衣服，因为目标是尽可能地与参考相匹配。

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The Skin
For the skin detail, I first tried Kris Costa's technique, which is to place pores and wrinkles one by one, so I did that for hours and in the end, I was not happy with the result. I think it’s great and should work when you are a sculptor and have strong experience and knowledge about that, but it’s not my case.
皮肤
对于皮肤细节，我首先尝试了Kris Costa的技术，即逐个放置毛孔和皱纹，所以我做了几个小时，最后，我对结果不满意。我认为这很棒，当你是一名雕塑家并且对此有很强的经验和知识时，它应该工作，但事实并非如此。

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So I looked at another technique, the one using Texturing XYZ and Wrap3D: the result was way better in less time, plus it also did the texturing at the same time! I absolutely don’t care about "cheating techniques" or people complaining when you don’t do everything from scratch and use Megascans, Texuring XYZ, or MetaHuman. For me, only the result is important, doesn't matter if you have NGons or which renderer you use.
因此，我研究了另一种技术，即使用Texturing XYZ和Wrap3D的技术：结果在更短的时间内变得更好，而且它同时也进行了纹理处理！我绝对不在乎“作弊技巧”，或者当你没有从头开始做所有事情并使用Megascans，Texuring XYZ或MetaHuman时抱怨。对我来说，只有结果才是重要的，无论你有NGNS还是你使用哪个渲染器都没关系。

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So thanks to this, I have my raw Displacement and Color maps that I then just clean in Mari.
因此，多亏了这一点，我有了我的原始位移和彩色贴图，然后我就在Mari中清理了它们。

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The Hair
For hair, I don’t have anything special to say. Always the same: do your own research and test to know which of the XGen engines is the best for your project. Here, I use XGen Interactive, which allows hand-sculpting hairs one by one. I like it: the simplest tools are just needed to do things!
头发
对于头发，我没有什么特别的要说的。始终保持不变：进行自己的研究和测试，以了解哪种XGen引擎最适合您的项目。在这里，我使用XGen Interactive，它允许一个接一个地手工雕刻头发。我喜欢它：最简单的工具只需要做事！

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Rendering
For rendering, I used Arnold because why use any other renderer than the default one, which is perfectly integrated with Maya and well-known for its SSS quality?

I absolutely don’t care about the speed of a renderer. When you spend 3 months on a project, it’s not a problem for me to take 1 night to render one image. I use the GPU for all the development and in the end, I rendered using the CPU to have more control over sampling.
渲染
对于渲染，我使用了 Arnold，因为为什么使用除默认渲染器之外的任何其他渲染器，后者与 Maya 完美集成，并以其 SSS 质量而闻名？

我绝对不在乎渲染器的速度。当你在一个项目上花费3个月的时间时，对我来说，花1个晚上来渲染一个图像并不是问题。我使用GPU进行所有开发，最后，我使用CPU进行渲染，以便更好地控制采样。

As for compositing, there isn't any! Always the same: I like things simple, I'm not interested in exporting all AOVs to recomp them in Nuke for nothing. A good render doesn't need compositing.

I just put my final render in Photoshop for some extra final touch post-process effects.
至于合成，没有！总是一样的：我喜欢简单的东西，我不感兴趣导出所有AOV以在Nuke中无缘无故地重新组合它们。一个好的渲染不需要合成。

我只是将最终渲染放在Photoshop中，以获得一些额外的最终处理后期效果。

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Motivation
Motivation is a key point. When we talked about long projects, there was always the motivation side. First, you need to be passionate! If you prefer to play video games or do anything other than CG, you’re not passionate! Also, it’s why organization, planning, and R&D are so important. If you plan your project well at the beginning, then you know why you are doing it and that you’ll be able to finish it.
动机
动机是一个关键点。当我们谈论长期项目时，总是有动机的一面。首先，你需要充满激情！如果你喜欢玩电子游戏或做CG以外的任何事情，你就没有激情！此外，这也是为什么组织，规划和研发如此重要的原因。如果你在一开始就很好地规划了你的项目，那么你就知道你为什么要这样做，并且你将能够完成它。

Or if like almost 90% of people you just say, "Hey, this is so great, I’ll do that in CG" and then you open Maya and start modeling, you’ll never finish your project because it’s only an emotional instant project and not a really well-thought one (remember that I mostly think weeks before starting a project).
或者，如果像几乎90%的人一样，你只是说，“嘿，这太好了，我会在CG中做到这一点”，然后你打开Maya并开始建模，你永远不会完成你的项目，因为它只是一个情感即时项目，而不是一个真正经过深思熟虑的项目（请记住，我主要是在开始项目前几周思考）。

Of course, there is always this moment in the middle of the project when you don’t know if it’s good, if you’re heading in the right direction, etc., so just share it as a WIP! It's 2022, but I have never seen artists be shy to post their WIP. Everyone seems to work in the shadows and only posts the final work. I remember before Discord, there were forums like CGArena, Polycount, and ZBrushCentral, where everyone posted WIPs every day to get feedback.
当然，在项目进行到来时，总会有这样的时刻，你不知道它是否好，如果你正朝着正确的方向前进，等等，所以就把它作为WIP分享吧！现在是2022年，但我从未见过艺术家害羞地发布他们的WIP。每个人似乎都在阴影中工作，只发布最终作品。我记得在Discord之前，有像CGArena，Polycount和ZBrushCentral这样的论坛，每个人都每天发布WIP以获得反馈。

Today, I have Discord to help, but no one posts WIPs, they're just interested in the final image and getting likes.

Besides, in each of my projects, there is help from someone that gives me great advice that helps me to reach better quality.
今天，我有Discord可以提供帮助，但是没有人发布WIP，他们只是对最终图像感兴趣并获得喜欢。

此外，在我的每个项目中，都有人帮助我提供很好的建议，帮助我达到更好的质量。

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Conclusion
This project took me about 3 months, I recorded almost everything in this 40-hour tutorial.

It's impossible and not useful for you to watch 40 hours of footage, so there is also a 4-hour video divided into chapters with audio commentary and video editing where I explain all the necessary things to know. Then, you will be able to refer to the full Raw record video without editing to look more in-depth at how I apply the techniques. This way, it will be easier for you to follow and apply the techniques and it will also give you access to any subtle parts you would like to see.
结论
这个项目花了我大约3个月的时间，我在这个40小时的教程中记录了几乎所有的东西。

观看40小时的镜头是不可能的，也没有用，所以还有一个4小时的视频，分为几个章节，包括音频评论和视频编辑，我解释了所有必要的事情。然后，您将能够在不进行编辑的情况下参考完整的Raw录制视频，以更深入地了解我如何应用这些技术。这样，您将更容易遵循和应用这些技术，并且还可以让您访问您想要看到的任何微妙部分。
https://youtu.be/x8hkKO5y4rs

Everything is done with Maya, ZBrush, Arnold, XGen, and Wrap3D. I won't teach you the software or anatomy but you'll learn how to make an image. I don’t like school techniques where everything should follow rules, be done in order, etc. With this tutorial, I will try to explain to you how to do a CG portrait your own way, to be confident in what you do, and not try to find the infused knowledge or the perfect way but just do it! Be smart, be pro, be passionate, close everything, and just do CG.

Thank you for reading this interview, I hope that will help you with your projects.
一切都是用Maya，ZBrush，Arnold，XGen和Wrap3D完成的。我不会教你软件或解剖学，但你会学习如何制作图像。我不喜欢学校的技巧，一切都应该遵循规则，按顺序完成，等等。通过本教程，我将尝试向您解释如何以自己的方式制作CG肖像，对您所做的事情充满信心，而不是试图找到注入的知识或完美的方法，而只是这样做！要聪明，要专业，要有激情，关闭一切，然后做CG。

感谢您阅读此采访，我希望这对您的项目有所帮助。