您需要 登录 才可以下载或查看，没有账号？注册
x
Introduction
Hello! My name is Jonathan Narvaez, I'm 23 years old, I'm from Ibagué-Colombia, and I'm a 3D Character Artist.
Since I was a child I loved the art of video games and movies, I have always been curious about how artists make that incredible art. Little by little, I was investigating how I could enter the world of 3D where my main focus was to create characters, and someday I hoped to see one of my characters in a video game, movie, or even printed. So, I was destined to do what I longed for since my childhood.
介绍
你好！我的名字是Jonathan Narvaez，我今年23岁，我来自哥伦比亚的Ibagué，我是一名3D角色艺术家。
从我小时候起，我就喜欢电子游戏和电影的艺术，我一直很好奇艺术家如何制作这种令人难以置信的艺术。渐渐地，我正在研究如何进入3D世界，在那里我的主要重点是创建角色，有一天我希望在视频游戏，电影甚至印刷品中看到我的一个角色。所以，我注定要做我从小就渴望的事情。
Then I saw an opportunity in a national institution in my city. It was very new as at that time I did not know any educational entity to learn this in my country. When I realized that in that institution I had the opportunity to learn 3D, I did not think twice and enrolled. There I learned the development of video games, where they put together art and programming. Although I learned some programming at that time I did not like it much, my focus was always on art and, to be more exact, on characters. When I finished the course, I continued studying myself and from there I began my ninja way as a creator of 3D characters.
然后，我在我所在城市的一个国家机构看到了一个机会。这是非常新的，因为当时我不知道任何教育实体在我的国家学习这个。当我意识到在那个机构我有机会学习3D时，我没有三思而后行并注册了。在那里，我学习了视频游戏的发展，他们将艺术和编程结合在一起。虽然我当时学习了一些编程，但我不太喜欢它，但我的关注点总是在艺术上，更确切地说，在角色上。当我完成课程后，我继续学习自己，从那里我开始了我的忍者之路，成为3D角色的创造者。
I obtained my artistic skills in a self-taught way, as I said before, and with some courses that helped me to understand a little about workflow and tools. As time went by, I adapted my own workflow, and I was improving from practice and constancy. Sometimes people think that there is a quick magic formula to becoming a better artist, but the truth is the only magic formula is discipline and passion for what you do.
正如我之前所说，我以自学成才的方式获得了艺术技能，并通过一些课程帮助我了解了一些关于工作流程和工具的知识。随着时间的流逝，我调整了自己的工作流程，并且我从实践和恒定性中得到了改进。有时人们认为，要成为一名更好的艺术家，有一个快速的神奇公式，但事实是，唯一的神奇公式是纪律和对自己所做的事情的热情。
At first, I thought it was easy to achieve what other high-level artists were doing, and I was frustrated to know that it wasn't, but when I listened to several artists in their interviews and saw that they also started like me without knowing anything and that they polished their skills by their perseverance, discipline, and passion for what they do, I decided not to give up and take the art of those artists and motivate and challenge myself to be better every day.
起初，我认为很容易实现其他高级艺术家正在做的事情，我很沮丧地知道事实并非如此，但是当我在他们的采访中听到几位艺术家时，看到他们也像我一样开始什么都不知道，他们通过毅力，纪律和对工作的热情来磨练自己的技能， 我决定不放弃，接受那些艺术家的艺术，激励和挑战自己，让自己每天都变得更好。
Inspiration and References
The Shark project arose from a sea creatures-themed contest that was held on social networks. It consisted of creating a design based on either your own concept or the inspiration of another artist's artwork. For the Shark project, I started with gathering references which, I think, is the most important thing for every project you do. During all the development of the shark, I was thinking of 3D printing but for the contest, I had a little freedom since only the render was required.
My main goal was to prove to myself that I could get out of my comfort zone and face new challenges, and of course to give the best quality in the contest.
灵感和参考
鲨鱼项目源于在社交网络上举行的以海洋生物为主题的竞赛。它包括根据您自己的概念或其他艺术家作品的灵感创建设计。对于Shark项目，我从收集参考资料开始，我认为这是你所做的每个项目最重要的事情。在鲨鱼的所有开发过程中，我一直在考虑3D打印，但对于比赛，我有一点自由，因为只需要渲染。
我的主要目标是向自己证明，我可以走出自己的舒适区，面对新的挑战，当然，在比赛中提供最好的质量。
The contest was the main inspiration for me because I saw an opportunity to show my artistic skills, and the prizes were also an important factor to motivate and inspire me to do something amazing.
I always organize references by the type of elements I need, for example, fabric. Then I place the images that interest me in a group to have an order which will help me to have a better reading of the references.
比赛是我的主要灵感来源，因为我看到了展示自己艺术技巧的机会，奖品也是激励和激励我做一些了不起的事情的重要因素。
我总是按我需要的元素类型（例如，fabric）来组织引用。然后，我将我感兴趣的图像放在一个组中，以进行排序，这将有助于我更好地阅读参考文献。
Based on the references I had in my PureRef, I managed to get the most important things I would use to create an original design. I was looking for the morphology I wanted for my character and even the accessories he would wear. By analyzing the references I chose an animal shark that in my case would be a good representation of a great sea creature.
The concept was done with the assistance of my great friend who helped me a lot with capturing the main idea of what I collected in the references.
根据我在PureRef中的参考资料，我设法获得了用于创建原始设计的最重要的东西。我一直在为我的角色寻找我想要的形态，甚至是他会穿的配饰。通过分析参考文献，我选择了一种动物鲨鱼，在我的情况下，它将很好地代表一种伟大的海洋生物。
这个概念是在我的好朋友的帮助下完成的，他帮助我捕捉了我在参考文献中收集的主要思想。
The Shark
The work on the shark became such a point in my life that divided it into "before" and "after" in terms of the work I had been doing. It was an incredible challenge that made me get out of my comfort zone, plus I really enjoyed the process where I learned new things for my future projects.
For this character, the major part of the working process was done in ZBrush and Blender. I did everything from a sphere and with dynamesh creating and polishing each part.
In the first stage, I started to give a characterization to my character with elements that would give it. I tried to deliver the sea warrior identity captured in the concept and tried different clothing variants. For this first stage, I started with a sphere and finished with what you can see below.
鲨鱼
关于鲨鱼的工作成为我生命中的一个点，根据我一直在做的工作，它分为“之前”和“之后”。这是一个令人难以置信的挑战，让我走出了我的舒适区，而且我真的很喜欢这个过程，我为未来的项目学习了新的东西。
对于这个角色，工作过程的主要部分是在ZBrush和Blender中完成的。我从一个球体和动态网格创建和抛光每个部分做了所有事情。
在第一阶段，我开始用能够赋予角色的元素来塑造我的角色。我试图传递概念中捕获的海战士身份，并尝试了不同的服装变体。对于第一个阶段，我从一个球体开始，并完成了下面可以看到的内容。
Here I started to polish and refine the anatomy, thus generating a harmony in the creature's anatomy, where I was still looking for some of the clothing, accessories, and even facial expression that characterized my warrior shark.
在这里，我开始打磨和完善解剖结构，从而在生物的解剖结构中产生和谐，我仍然在寻找一些服装，配饰，甚至面部表情，这些都是我的战士鲨鱼的特征。
In the next stage, I polished the primary details, creating a harmony in the whole character, for example making the skin and the fat of the character look more organic and adjusting the accessories and the pose. I tried to make a complex pose that would give more intentionality to my character.
在下一阶段，我打磨了主要细节，在整个角色中创造了和谐，例如使角色的皮肤和脂肪看起来更加有机，并调整配件和姿势。我试图做出一个复杂的姿势，让我的角色更有意向性。
After making the modifications to the pose, accessories, and even the anatomy, I started to create wrinkles, creases, scars, and wear and tear among others to further enrich the personality of my character.
在对姿势，配件甚至解剖结构进行修改后，我开始创造皱纹，折痕，疤痕和磨损等，以进一步丰富我的角色个性。
Then I placed porosities and irregularities in the skin (to complement all the previous work), in the fabric textures, and of course in the weapons. I added very subtle details to give that feeling of a bone.
然后，我在皮肤上放置了孔隙和不规则性（以补充之前的所有工作），织物纹理，当然还有武器。我添加了非常微妙的细节，以给人一种骨头的感觉。
The coloring of the character is one of my favorite parts, it was a great challenge to make the skin have a very similar tonality to a real shark. It was a nice process I really learned a lot, the references here also play an important factor when it comes to coloring.
角色的着色是我最喜欢的部分之一，使皮肤具有与真正的鲨鱼非常相似的色调是一个巨大的挑战。这是一个很好的过程，我真的学到了很多东西，这里的参考资料在着色方面也起着重要作用。
During the modeling process, I faced several challenges: from creating anatomy different from the canon of muscles and ideal proportions to the pose and accessories that fit the character's nature.
在建模过程中，我遇到了几个挑战：从创建与肌肉和理想比例不同的解剖结构，到适合角色本质的姿势和配件。
Accessories
The accessories were modeled from the blocking I had. I used polygonal modeling to have better control of everything.
For the staff, I used a mix of ZBrush and Blender. I also worked in Marvelous Designer but I only used it for the loincloth.
First, guided by the references, I identified how people used this kind of necklace. Taking this into account, I resorted to my previous files where I already had a skull that I had made weeks ago as a practice. Then I adapted and polished the necklace. For the strings, I used Blender, and the teeth were made from a sphere molded to the shape I needed.
辅料
配件是从我所拥有的阻挡中建模的。我使用多边形建模来更好地控制一切。
对于员工，我混合使用了ZBrush和Blender。我也在Marvelous Designer工作过，但我只用它来做腰布。
首先，在参考文献的指导下，我确定了人们如何使用这种项链。考虑到这一点，我求助于我以前的文件，在那里我已经有了一个头骨，这是我几周前作为练习制作的。然后我调整并抛光了项链。对于琴弦，我使用了Blender，牙齿是由一个球体模制成我需要的形状。
Retopology
During the development of this character, I didn't use retopology for the texturing. I only used vertex painting during the whole texturing process since my process was done with the 3D printing workflow.
重新拓扑
在这个角色的开发过程中，我没有使用重新拓扑来纹理化。我在整个纹理加工过程中只使用顶点绘画，因为我的过程是通过3D打印工作流程完成的。
Texturing
For the texturing process, the fundamental thing was the references that helped me create a color palette. I used a sphere for that, this way I had better control of the shades that I wanted to put in my character.
For the texturing of the skin, I made a process of several colors to give it realism, in which I used dark-to-light tones. As for the configuration in the shader in Blender, I played a little with the SSS, AO, and Roughness, to give it that organic touch.
纹理
对于纹理加工过程，最基本的是帮助我创建调色板的引用。为此，我使用了一个球体，这样我就可以更好地控制我想放在我的角色中的阴影。
对于皮肤的纹理，我做了几种颜色的过程，以使其具有真实感，其中我使用了从深到浅的色调。至于Blender中着色器中的配置，我用SSS，AO和Roughness进行了一些调整，以赋予它有机的触感。
For the cloth and bone surfaces as well as for the skin, I analyzed the references to see what colors would make these accessories be similar to reality. I also considered the issue of dirt that gives extra value to the piece, so that it is not so perfect, referring to not having stains or any damage.
ZBrush was the only software I used for the whole texturing process.
The challenge I faced here was finding the proper color variation of the skin. I didn't want it to look like a basic color, so I tried to achieve the set of colors that create the perfect tone of the skin. It was difficult but a nice process. It was also a little challenging to create the fabrics, but once I found the right approach to one part, it was easier to apply it to the other parts.
对于布料和骨骼表面以及皮肤，我分析了参考资料，看看什么颜色会使这些配件与现实相似。我还考虑了赋予作品额外价值的污垢问题，因此它不是那么完美，指的是没有污渍或任何损坏。
ZBrush是我在整个纹理加工过程中使用的唯一软件。
我在这里面临的挑战是找到皮肤的适当颜色变化。我不想让它看起来像一种基本颜色，所以我试图实现一组颜色，创造出皮肤的完美色调。这很困难，但过程很好。创建织物也有点挑战性，但是一旦我找到了一个零件的正确方法，就更容易将其应用于其他零件。
Rendering and Lighting
Before I started this process, I did a decimation of the whole character to lower its polygonal weight but keep the detail I made, then I set up the scene with the lighting, the type of camera, and the materials I would use.
I used three-point lighting, where I added fill lights to complement these lights as there were very dark areas.
I used some color retouching for the final image, also adjusting the highlights and shadows a bit with the render passes I took out of Blender.
渲染和光照
在我开始这个过程之前，我对整个角色进行了大量删除，以降低其多边形重量，但保留我制作的细节，然后我用照明，摄像机类型和我将要使用的材质设置场景。
我使用了三点照明，其中我添加了补光灯来补充这些灯光，因为那里有非常黑暗的区域。
我对最终图像使用了一些颜色修饰，还使用我从Blender中获取的渲染通道稍微调整了高光和阴影。
My recommendation is to look for the type of lighting that you would like your character to have, see many references, and work well on the materials. The most important thing here is to make them stand out in the light. It also took a lot of trial and error, and that's what eventually helped me to get a good result.
我的建议是寻找您希望角色拥有的照明类型，看到许多参考，并在材质上很好地工作。这里最重要的是让它们在灯光下脱颖而出。这也需要大量的试验和错误，这就是最终帮助我获得好结果的原因。
Conclusion
As I made this character for a contest, it took me one month to finish it – it was the limited time for delivery. I had to work every day without stopping to deliver the best quality in the shortest time possible.
My main source of motivation was my family and friends. The truth is that it is a fundamental pillar to have that confidence in yourself and know that they believe in your talent. Another factor to motivate me was the competition to see the progress of others who wanted to deliver the best result they can, and this gave me a feeling that I should never give up.
结论
当我为比赛制作这个角色时，我花了一个月的时间才完成它 - 这是有限的交付时间。我必须每天不停地工作，以便在最短的时间内提供最好的质量。
我的主要动力来源是我的家人和朋友。事实是，对自己有信心并知道他们相信你的才能是一个基本的支柱。激励我的另一个因素是竞争，看看那些想要提供最佳结果的人的进步，这给了我一种我永远不应该放弃的感觉。
The main challenges for me were to get out of the comfort zone of making human characters. This gave me the opportunity to make a creature which was a really great challenge. Considering the time given for a character as complex as a shark, it was a surprise for me that I achieve this result in a month. It is something that I thought I would not get to finish but thanks to the motivation of those who believe in me I could face this great challenge and show that everything can be achieved if you believe in yourself.
对我来说，主要的挑战是走出制作人类角色的舒适区。这给了我一个机会来制作一个生物，这是一个非常大的挑战。考虑到给一个像鲨鱼这样复杂的角色的时间，我在一个月内达到这个结果对我来说是一个惊喜。这是我以为我不会完成的事情，但多亏了那些相信我的人的动力，我可以面对这个巨大的挑战，并表明如果你相信自己，一切都可以实现。
If I had to give advice to the beginner Character Artists, I'd recommend starting with looking for the visual style that you would like to represent in your artwork. After that, do not go for the complex staff but look for some concepts or simpler ideas that help you understand the workflow of creating characters and tools that will be useful if you go towards more complex objectives, such as anatomy, composition, proportions, etc.,
Finally and most importantly, you need to have a lot of perseverance, discipline, and motivation. Your most powerful weapon to be a better artist is practice, with that you can achieve what you set out and to live what you like.
如果我必须给初学者角色艺术家提供建议，我建议你从寻找你想在艺术作品中表现的视觉风格开始。之后，不要去找复杂的工作人员，而是寻找一些概念或更简单的想法，以帮助您理解创建角色和工具的工作流程，如果您转向更复杂的目标，例如解剖学，构图，比例等，这些角色和工具将非常有用。
最后也是最重要的一点，你需要有很大的毅力、纪律和动力。成为一名更好的艺术家，你最有力的武器是练习，这样你就可以实现你所设定的目标，过你喜欢的生活。
|
