Leonardo Azevedo shared a short breakdown of his Spider-Man 2099 recreation, showing what he did to give the iconic suit a realistic look.
莱昂纳多·阿泽维多（Leonardo Azevedo）分享了他的蜘蛛侠2099娱乐的简短细分，展示了他为赋予标志性战衣逼真的外观所做的工作。
Hi everyone, my name is Leonardo, I'm a 3D artist currently working with collectibles/3D printing and living in Portugal. I started my path in 3D through a degree I took in Fine Arts, where I was introduced to ZBrush. Soon after, an interest in deepening my knowledge in the area arose and I stumbled upon a website called ArtStation where one of the first works that caught my attention was that of the great Rafael Grassetti. From there it was a big snowball where names like André Castro, Rafa Sousa, Damien Guimoneau, Marco Plouffe, Kevin Cassidy, and Igor Catto emerged throughout my research and still remain as pillars and references in my daily life.
大家好，我的名字是莱昂纳多，我是一名3D艺术家，目前从事收藏品/ 3D打印工作，住在葡萄牙。我通过美术学位开始了我的3D之路，在那里我被介绍给ZBrush。不久之后，我产生了加深对该领域知识的兴趣，偶然发现了一个名为ArtStation的网站，其中最早引起我注意的作品之一是伟大的拉斐尔·格拉塞蒂（Rafael Grassetti）的作品。从那里开始，就像一个大雪球，像安德烈·卡斯特罗、拉法·索萨、达米安·吉莫诺、马可·普劳夫、凯文·卡西迪和伊戈尔·卡托这样的名字在我的研究中出现，并且仍然是常生活中的支柱和参考。
The Spider-Man 2099 Project
蜘蛛侠2099计划So the idea to carry out the Spider-Man project came up after going to the cinema to see Spider-Man: Across the Spider-Verse. I was completely in love with the character as soon as he entered the scene. I loved the way they applied the new design to it and thought it fit the story perfectly. Needless to say, I was so excited about it that I decided to make one for my portfolio. Spider-Man has always been my favorite superhero character since I was little and I always wanted to make a realistic version, so it was one more excuse to start the project right away.
所以开展蜘蛛侠项目的想法是在去电影院看《蜘蛛侠：穿越蜘蛛侠》之后萌生的。他一进入现场，我就完全爱上了这个角色。我喜欢他们应用新设计的方式，并认为它非常适合故事。不用说，我对此感到非常兴奋，以至于我决定为我的投资组合制作一个。蜘蛛侠一直是我从小最喜欢的超级英雄角色，我一直想制作一个现实版本，所以这是立即开始这个项目的另一个借口。
As far as the concept is concerned, I simply looked for collectibles already on the market and also looked for a lot of 2D art to be able to have a better idea of how I could perform the best interpretation of the character in a realistic version without losing the essence of the animated film with a more stylized look.
就概念而言，我只是寻找市场上已有的收藏品，也寻找了很多 2D 艺术，以便能够更好地了解如何在现实版本中对角色进行最佳诠释，而不会失去动画电影的精髓具有更风格化的外观。
Modeling 建 模So going a little further into the development of the project itself, I started by trying to find and understand what would be the best proportions to assign the sculpture, bearing in mind how it would look on film. So something that was very much in the direction of a bodybuilding athlete. I started by sculpting the proportions and anatomy all right so that I could then move on to the refinement of the suit.
因此，进一步研究项目本身的发展，我首先试图找到并理解分配雕塑的最佳比例，同时牢记它在电影中的外观。所以这非常符合健美运动员的方向。我首先雕刻了比例和解剖结构，以便我可以继续改进西装。
For the detail of the suit, I used masks to be able to extrude and thus create a separate mesh and thus be able to create several layers of depth to the suit giving a more realistic look, even treating it as if it were in fact a suit that I would be making in real life.
对于西装的细节，我使用蒙版来挤出，从而创建一个单独的网格，从而能够为西装创建几层深度，从而提供更逼真的外观，甚至将其视为我在现实生活中制作的西装。
For refinement, I used brushes like Chisel, DamStandard, and some sewing brush presets.
为了改进，我使用了Chisel，DamStandard等刷子和一些缝纫刷预设。
For the head, it was more of the same, with the exception that I used the DynaMesh feature more to perform some detail, namely the strips around the mask.
对于头部，情况大致相同，只是我更多地使用了DynaMesh功能来执行一些细节，即面罩周围的条带。
As for the blades and other hard-surface parts, they were created using DynaMesh and the TrimDynamic brush, which I love and use whenever possible.
至于刀片和其他硬表面部件，它们是使用DynaMesh和TrimDynamic刷子创建的，我喜欢并尽可能使用它们。
Retopology & Texturing 重新拓扑和纹理The project was all detailed in ZBrush, not only through the brushes I described above but also using several alphas of metal and also alphas for the first layer of fabric. I also chose to perform the retopology and unwrap everything in ZBrush through ZRemesh and the UV Master plugin.
该项目在ZBrush中都有详细说明，不仅通过我上面描述的画笔，而且还使用了几种金属阿尔法和第一层织物的阿尔法。我还选择执行重新拓扑，并通过ZRemesh和UV Master插件解开ZBrush中的所有内容。
The most challenging part to detail was without a doubt the blue straps along the body. It was difficult for me to try to figure out what to do in this specific case since there aren't many examples out there of this specific genre. I made the decision to improvise a little and leave the concept aside.
毫无疑问，最具挑战性的部分是沿着身体的蓝色带子。我很难弄清楚在这种特定情况下该怎么做，因为这种特定类型的例子并不多。我决定即兴创作一下，把这个概念放在一边。
Rendering 渲染As for the render, I took it to a program called KeyShot and rendered it there. I really like this program because of the way light reacts with materials, it gives a very realistic feel and gives overall strength to the project.
至于渲染，我把它带到一个名为KeyShot的程序并在那里渲染。我真的很喜欢这个程序，因为光线与材质的反应方式，它给人一种非常逼真的感觉，并为项目提供了整体力量。
Soon after, I made the transition to Photoshop, following and closing with a final treatment in which we highlighted the color/light and played with the general feeling of the project.
不久之后，我过渡到Photoshop，然后以最后的处理结束，我们突出显示了颜色/光线，并发挥了项目的总体感觉。
I think the trick will be to make the character very present in the scene, showing all the work done on him and also accentuating the feeling you want to convey to the viewer.
我认为诀窍是让角色在场景中非常存在，展示在他身上所做的所有工作，并强调你想传达给观众的感觉。
Conclusion 结论This project lasted 15 days, including sculpting, rendering, and Photoshop treatment.
这个项目持续了15天，包括雕刻，渲染和Photoshop处理。
My advice to new artists looking to get started in 3D is to take things easy. Little by little we are moving in the right direction and discovering ourselves as artists, thus defining the message and feeling that you want to convey with your projects and your art.
对于希望开始使用3D的新艺术家，我的建议是放轻松。我们一点一点地朝着正确的方向前进，发现自己是艺术家，从而定义了您想要通过项目和艺术传达的信息和感觉。
Leonardo Azevedo, 3D Artist
莱昂纳多·阿泽维多，3D艺术家Interview conducted by Theodore McKenzie
采访由西奥多·麦肯齐进行
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