Clément Néca has shared a breakdown of the recent Gwen Stacy project, discussed the ZBrush pipeline, and spoke about rendering the model in Marmoset Toolbag.

Clément Néca分享了最近Gwen Stacy项目的细分，讨论了ZBrush管道，并谈到了在Marmoset Toolbag中渲染模型。

Introduction 介绍

I am Clément Néca, a Freelance Character Artist, working in the game industry. I am passionate about video games, and I am an anatomy nerd. For me, it was obvious to make characters for games. I even plan to start my own game in a year or two.
我是克莱门特·内卡，自由角色艺术家，在游戏行业工作。我对电子游戏充满热情，我是一个解剖学书。对我来说，为游戏制作角色是显而易见的。我甚至计划在一两年内开始自己的游戏。

I studied for five years in an animation and game art school in Paris called New 3Dge, where I learned all the basics needed to make a start in the industry. After my Master's degree, I have been focused on stylized characters, and I have worked on a bunch of personal projects.
我在巴黎一所名为New 3Dge的动画和游戏艺术学校学习了五年，在那里我学到了在这个行业起步所需的所有基础知识。在获得硕士学位后，我一直专注于风格化的角色，并从事了一系列个人项目。

References 引用

The project that taught me the most was Fang. It is about concept art, stylization, hand painting, etc. When I saw Arcane, I knew I needed a project at this level. Thanks to this project, I was able to feel comfortable with stylized characters and finish the Gwen Stacy project in a week.
教会我最多的项目是方。它是关于概念艺术，风格化，手绘等。当我看到Arcane时，我知道我需要这个级别的项目。多亏了这个项目，我能够对风格化的角色感到自在，并在一周内完成了格温·史黛西的项目。

When I saw Spider-Man: Across the Spider-Verse, I had the same feeling I had after Arcane. This film is exceptional, so I chose to recreate Gwen and Miles. Like any good project, I collected references on everything that could be useful to me, from the general things such as proportions, silhouette, design, and colors to the specific ones like shading, facial lines, and close-ups. Here are some references I took from trailers and videos:
当我看到《蜘蛛侠：穿越蜘蛛侠》时，我有和《奥术》之后一样的感觉。这部电影很特别，所以我选择重现格温和迈尔斯。像任何好的项目一样，我收集了所有可能对我有用的参考资料，从比例、轮廓、设计和颜色等一般内容到阴影、面部线条和特写等特定内容。以下是我从预告片和视频中获取的一些参考资料：

As there was no concept art, I only relied on screenshots from the trailer and short clips on YouTube. I found out as much as I could about everything that was available, and I took a screenshot of each thing I learned. Then, I put it all into PureRef. This research and analysis stage took me a full day, about 10-12 hours.
由于没有概念艺术，我只依靠预告片的截图和YouTube上的短片。我尽可能多地了解所有可用的东西，并截取了我学到的每一件事的屏幕截图。然后，我把它全部放到PureRef中。这个研究和分析阶段花了我一整天的时间，大约10-12个小时。

This step is often overlooked, and the result inevitably suffers the consequences. Just by looking at the references and thinking things through, you can already have a fairly precise idea of the process, even if you've never done it before. So you save a lot of time and improve the quality of your work. Don't underestimate the importance of references. You learn a lot from them. Let's take an example with a small bit from the references:
这一步往往被忽视，结果不可避免地遭受后果。只需查看参考资料并仔细思考，即使您以前从未做过，您也已经可以对该过程有一个相当精确的想法。因此，您可以节省大量时间并提高工作质量。不要低估参考的重要性。你从他们身上学到了很多东西。让我们举一个参考资料中的例子：

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Workflow 工作流程

Now that we've learned a lot from our research, we can imagine what the process will be like, what will be different from what we're used to, and how we should approach these changes. It's best to avoid starting a project without knowing where you're going. Once you have an idea of the process, you can finally start blocking.
现在我们已经从研究中学到了很多东西，我们可以想象这个过程会是什么样子，与我们习惯的有什么不同，以及我们应该如何处理这些变化。最好避免在不知道要去哪里的情况下开始一个项目。一旦你对这个过程有了想法，你终于可以开始阻止了。

It doesn't matter what software or method you use. You can start with a Basemesh, poly-modeling, etc. The aim here is just to have a silhouette that works. For a stylized project, and especially for Gwen, the silhouette has to be dynamic, so we look at the references and understand the relationship between the curved and straight parts. It's the same approach as in 2D.
您使用什么软件或方法并不重要。您可以从基础网格、多边形建模等开始。这里的目的只是拥有一个有效的轮廓。对于一个风格化的项目，特别是对于Gwen来说，轮廓必须是动态的，所以我们查看参考并理解弯曲和直线部分之间的关系。这与 2D 中的方法相同。

In the beginning, we ignore details, anatomy, etc. We just want a silhouette that works from any point of view. There are always tools to cheat, such as ZBrush's See-through, or you can simply import the reference, but be careful with that. A slight rotation can compromise the understanding of volumes, and perspective can also vary a lot depending on the shot.
一开始，我们忽略了细节、解剖学等。我们只想要一个从任何角度都有效的轮廓。总是有一些工具可以作弊，例如ZBrush的See-through，或者您可以简单地导入引用，但要小心。轻微的旋转会影响对体积的理解，并且视角也会因镜头而异。

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Tools 工具

I only used ZBrush for blocking, sculpting, and even painting. In ZBrush, there are no secrets, and I use very few options. It's mainly sculpting with brushes, Move, Dam Standard, ClayBuildup, Trim Dynamic, and Paint. I have my own version of ClayBuildup, Dam Standard, and Paint brushes.
我只使用ZBrush进行遮挡，雕刻，甚至绘画。在ZBrush中，没有秘密，我使用的选项很少。它主要使用画笔，移动，大坝标准，粘土堆积，修剪动态和油漆进行雕刻。我有自己的ClayBuildup，Dam Standard和Paint画笔版本。

For the ClayBuildup and Dam Standard, I just went into Stroke, Lazy Mouse, and reduced the Lazy Step very low. Then I reduced the intensity to around 12 or 13, and finally, for the ClayBuildup, I activated the BackFace mask too. The result is a cleaner brush. I also like to use the BackFace mask on the move to create volume in the blocking. To avoid having to activate and deactivate it all the time, I activate it on the topological move and deactivate it on the classic move.
对于粘土堆积和大坝标准，我只是进入了笔画，懒鼠，并将懒惰步骤降低得很低。然后我将强度降低到12或13左右，最后，对于ClayBuildup，我也激活了BackFace面罩。结果是刷子更干净。我还喜欢在移动中使用 BackFace 面罩在阻塞中创建音量。为了避免一直激活和停用它，我在拓扑移动中激活它，在经典移动中停用它。

Assign keyboard shortcuts to your main brushes. Remember: Ctrl+Alt+Click on the brush to assign a keyboard shortcut. Otherwise, apart from the modified brushes, I just sculpted, staying low poly and avoiding zooming in too much so as not to linger on details.
为主画笔指定键盘快捷键。请记住：按 Ctrl+Alt+单击画笔以分配键盘快捷键。否则，除了修改后的画笔外，我只是雕刻，保持低多边形，避免放大太多，以免在细节上徘徊。

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Modeling 建 模

The head is often a tricky part. Capturing a unique style is always the biggest challenge for most people, but it's also what makes the project interesting. It's a lot of observation, trying to understand volumes from as many angles as possible, and applying those volumes by constantly comparing with references. It's 'just' comparing your model with the references hundreds of times. The most important thing, as always, is the silhouette. Thanks to the silhouette and the relationship between light and shadow, we understand the volumes of the face.
头部通常是一个棘手的部分。对于大多数人来说，捕捉独特的风格始终是最大的挑战，但这也是使项目变得有趣的原因。这是大量的观察，试图从尽可能多的角度理解体积，并通过不断与参考文献进行比较来应用这些体积。它“只是”将您的模型与参考文献进行比较数百次。与往常一样，最重要的是轮廓。由于轮廓和光影之间的关系，我们了解了脸部的体积。

You start with the biggest shapes, the length and width of the head, and compare it with the rest of the body. Once you've got that right, you can zoom in a little more and start again to compare the volumes of your model with those you understand from analyzing the references. Repeat the operation, going into more and more detail, but don't go too fast, because if the first steps aren't right, the rest won't be either. You can have the perfect nose shape, but if it's too small in relation to the face or badly placed, it's useless.
你从最大的形状开始，头部的长度和宽度，并将其与身体的其他部分进行比较。一旦你做对了，你可以再放大一点，然后重新开始，将模型的体积与你通过分析参考所理解的体积进行比较。重复操作，越来越详细，但不要太快，因为如果第一步不对，其余的也不会。你可以拥有完美的鼻子形状，但如果它相对于脸部太小或位置不好，那就没用了。

Here are the main steps:
以下是主要步骤：

• Basemesh. 基础网格。
• Head shape. 头型。
• High and base painting. 高和底画。
• Final painting. 最后一幅画。
• Hair. 毛。
  

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For the eyes, it's always best to place the eyeball before doing the eyelids to get the right volume, but sometimes, the eyeballs aren't perfectly round depending on the artistic direction.
对于眼睛来说，最好在做眼睑之前放置眼球以获得正确的体积，但有时，根据艺术方向，眼球并不完美。

And finally, for the hair, I really don't have any secrets. I think there's still plenty of room for improvement. I do 3 or 4 strands that I duplicate and deform one by one to lay the blocking. Then, for the important strands in the silhouette, I sculpt them one by one to make sure I get exactly what I want.
最后，对于头发，我真的没有任何秘密。我认为还有很大的改进空间。我做 3 或 4 股，我一根一根地复制和变形以铺设块。然后，对于轮廓中的重要发丝，我一一雕刻它们，以确保我得到我想要的。

Once the blocking of the hair and the important strands are done, I sculpt all the visible strands to make them unique and try to give a flow to the haircut. And to finish, I place small flyovers by hand, those little hairs that come out of the main shape of the haircut. When working on the hair, always remember to look at it from several angles. Getting an interesting silhouette from all angles is very complicated and time-consuming, but the result is worth it.
一旦头发和重要发丝的阻塞完成，我就会雕刻所有可见的发丝，使它们独一无二，并尝试为发型提供流动。最后，我用手放置小天桥，那些从发型的主要形状中出来的小毛发。在处理头发时，请始终记住从多个角度看它。从各个角度获得有趣的轮廓非常复杂且耗时，但结果是值得的。

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Costume Design 服装设计

For the costume, it's the same process as we saw before. We focus on the silhouette. It should work from all angles and be dynamic, especially for a character like Gwen, who will often be in dynamic poses and turned in all directions. I wanted this project to be quick, so I started from a Basemesh I'd made for my character Fang, so I already had a slightly stylized shape and a clean topology. But if you start from scratch, try to have a clean topology anyway, with a ZRemesher, for example, so the mesh will be a lot easier to work with than a mesh with a bad and very stretched topology.
对于服装，它的过程和我们之前看到的是一样的。我们专注于轮廓。它应该从各个角度工作并且是动态的，特别是对于像格温这样的角色，他经常会摆出动态姿势并向各个方向转动。我希望这个项目能快一些，所以我从我为角色Fang制作的Basemesh开始，所以我已经有一个稍微风格化的形状和一个干净的拓扑。但是，如果您从头开始，无论如何都要尝试使用干净的拓扑，例如使用 ZRemesher，这样网格将比具有糟糕且非常拉伸的拓扑的网格更容易使用。

For Gwen, we need a fairly uniform topology for the paint we're going to see next. For the hood, I polymodeled it directly in ZBrush with the ZModeler and subdivided and sculpted it to get a more interesting flow in the folds rather than something symmetrical.
对于 Gwen，我们需要一个相当统一的拓扑结构来绘制接下来要看到的油漆。对于引擎盖，我直接在ZBrush中用ZModeler对其进行了多重建模，并对其进行了细分和雕刻，以便在褶皱中获得更有趣的流动，而不是对称的东西。

They are very simple, so I wasn't bothered by small details. For simple meshes without too much detail, try to stay zoomed out as much as possible to see the character as a whole and not just focus on a specific part that might not work well with the rest.
它们非常简单，所以我不会被小细节所困扰。对于没有太多细节的简单网格，请尝试尽可能缩小以看到整个角色，而不是只关注可能无法与其他部分很好地配合的特定部分。

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Texturing 纹理

For the retopology, as I said above, I started with a Basemesh for the body and for the head. For the rest, I made it in polymodeling to have a level 1 subdivision that I could use as a low poly. I often do this because it saves me a lot of time when I'm doing the retopology.
对于重新拓扑，正如我上面所说，我从身体和头部的 Basemesh 开始。对于其余部分，我在多边形建模中制作了一个可以用作低多边形的 1 级细分。我经常这样做，因为它在我进行重新拓扑时节省了大量时间。

The other big advantage is that when you've done your UVs, you can re-import the objects at subdivision level one, and it will keep all your subdivisions, but update your UVs. So if you need to touch up the sculpt later, you don't have to readapt the low poly every time, and what's more, it will be very useful for the paint job.
另一个很大的优势是，当你完成UV时，你可以在细分级别1重新导入对象，它将保留你所有的细分，但更新你的UV。因此，如果您以后需要修饰雕刻，则不必每次都重新调整低多边形，更重要的是，它对油漆工作非常有用。

However, be careful, using subdivision level 1 as your final low poly doesn't work if, in your retopology, you need to merge as many objects as possible into a single mesh. For example, a belt that would be retopologized in the same object as the body. This is often the case with game characters. For Gwen, the only object I had to apply the retopology was the shoes. The rest already had a good topology in level 1 of the subdivision.
但是，请注意，如果在重新拓扑中需要将尽可能多的对象合并到单个网格中，则使用细分级别 1 作为最终的低多边形是行不通的。例如，将在与主体相同的对象中重新拓扑的皮带。游戏角色通常就是这种情况。对于格温来说，我应用重新拓扑的唯一对象是鞋子。其余的在细分的 1 级中已经具有良好的拓扑结构。

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For the texturing, I had a lot of questions from many artists, so some people will be disappointed, but there's no any magic formula. It's literally just paint.
对于纹理，我有很多艺术家的问题，所以有些人会失望，但没有任何神奇的公式。它实际上只是油漆。

Apart from the costume’s gloss, everything else is hand-painted. I painted everything directly in ZBrush. It's not the most practical, I'm aware of that, but I like the feeling and the constraint of not having any layers. It encourages you to be sure of what you're doing and as I did oil painting at school, and continued on the side for several years, I've got a bit of that feeling of having everything in a single layer. But the software you use isn’t important. Substance 3D Painter or 3D Coat for example are good too.
除了服装的光泽，其他一切都是手绘的。我直接在ZBrush中绘制了所有内容。我知道这不是最实用的，但我喜欢没有任何层的感觉和约束。它鼓励你确定自己在做什么，就像我在学校做油画一样，并继续了几年，我有一种将所有东西都放在一层的感觉。但是您使用的软件并不重要。例如，物质3D画家或3D涂层也很好。

I'll explain the process and the tools used for those who want to try it out, but I don't think there's anything innovative about it. I started by doing the UVs and importing the mesh with UVs. Then I applied a material I've created, which is a variant of Skin Shade. I've just changed a few parameters, which I'll put here:
我将为那些想要尝试它的人解释这个过程和工具，但我认为它没有任何创新之处。我首先做UV并使用UV导入网格。然后我应用了我创建的一种材质，它是肤色的变体。我刚刚更改了一些参数，我将放在这里：

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I used my Paint brush, which I've also modified from the basic Paint brush. I've given it a square alpha the same as the ClayBuildup and reduced the focal shift to about -60. I also set the LazyStep to a very low value, as with the ClayBuildup and Dam Standard. If you don't want to make them, all the brushes are available for free here.
我使用了我的画笔，我也从基本的画笔修改了画笔。我给它一个与ClayBuildup相同的方形alpha，并将焦点偏移减少到-60左右。我还将LazyStep设置为非常低的值，就像ClayBuildup和Dam Standard一样。如果您不想制作它们，所有刷子都可以在这里免费获得。

So, once my shader has been applied, I check that I'm at a high subdivision level to have a resolution that I like, and I fill an object with a base color. In my case, I'm colorblind, so I pick my base color directly from a screenshot with fairly neutral lighting. Once I've got my base color, most of the time I start painting and work in the same way as I do with oil paints and sculptures. I start with the most important part and then work out the details little by little, gradually zooming in on my model. There's no secret to it. It's all about time, observation, and interpretation. But it's also the best part of the project.
因此，一旦应用了着色器，我就会检查我是否处于较高的细分级别，以获得我喜欢的分辨率，然后用基色填充对象。就我而言，我是色盲，所以我直接从具有相当中性照明的屏幕截图中选择我的基础颜色。一旦我有了底色，大多数时候我就开始以与油画颜料和雕塑相同的方式绘画和工作。我从最重要的部分开始，然后一点一点地计算细节，逐渐放大我的模型。这没有什么秘密。这一切都与时间、观察和解释有关。但这也是该项目最好的部分。

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If I don't have a lot of time, I'll try to have a base of light and shadow on my colors to bring out the volumes. Be careful, it must be light so that it doesn't interfere with the lighting of the scene. To do this, there's a little tab in Masking called Mask by Normals. I place myself in the viewport as if I were the spotlight that's going to light up my character in the paint and I click on Mask by Normals. Then I play a bit with my mask to boost it or make it sharper depending on what I want, and I do a Fill Object once again with a darker or lighter color depending on the mask you have. This will be my base color for the shadow or light.
如果我没有很多时间，我会尝试在我的颜色上有一个光影的基础，以带出体积。小心，它必须是轻的，以免干扰场景的照明。为此，“蒙版”中有一个名为“普通人蒙版”的小标签。我把自己放在视口中，就好像我是聚光灯，在油漆中照亮我的角色，我点击法线蒙版。然后，我用我的蒙版玩了一下，以增强它或使其更清晰，具体取决于我想要的东西，然后我根据你拥有的蒙版再次使用更深或更浅的颜色填充对象。这将是阴影或光线的基色。

There's also Mask by Occlusion which can be useful, but be careful, depending on the mesh it can take a long time. Once the base is done, we are at the stage I described earlier, painting. No magic. I take my time to observe, analyze, interpret, and replicate.
还有遮挡遮罩可能很有用，但要小心，根据网格的不同，它可能需要很长时间。一旦基础完成，我们就处于我之前描述的阶段，绘画。没有魔法。我花时间观察、分析、解释和复制。

If you really need to make a big change when the paint is very advanced, you can always export the map (ZPlugin, Multi Map Exporter, Textures from Polypaint) and make the changes in Photoshop, so you can re-import it in ZBrush after, and Polypaint by texture. That's why having a low poly with clean UVs in ZBrush is useful, but I admit it's not the most practical. The best thing is to be sure that each step is right before moving on to the next, but that's easier said than done. It's something that will come with time and experience. You can't imagine how many failed projects there were before Fang came to life.  
如果你真的需要在绘画非常高级的时候做一个大的改变，你可以随时导出地图（ZPlugin，Multi Map Exporter，Polypaint的纹理）并在Photoshop中进行更改，这样你就可以在ZBrush之后重新导入它，并通过纹理重新导入Polypaint。这就是为什么在ZBrush中使用具有干净UV的低多边形很有用的原因，但我承认这不是最实用的。最好的办法是在进入下一步之前确保每一步都是正确的，但这说起来容易做起来难。这是随着时间和经验而来的。你无法想象在方晟诞生之前有多少失败的项目。

It's the same process for eyes, hair, and so on: base color, light and shade, color variations, imperfections, brushstrokes, highlights, etc. Each element will be approached differently depending on the stylization of the character. That's why I love studying such incredible artistic styles as Arcane or the Spider-verse films.
眼睛、头发等的过程是一样的：基色、明暗、颜色变化、瑕疵、笔触、高光等。根据角色的风格化，每个元素的处理方式都不同。这就是为什么我喜欢研究像奥术或蜘蛛侠电影这样令人难以置信的艺术风格。

Rendering 渲染

Once we have our mesh ready, we can render it. Marmoset Toolbag is a good solution when you want to quickly render a game-ready mesh. For the Turntable, the render is pretty straightforward. I just put 3 or 4 lights, one main light, one fill light, and one ambient light. And for Gwen, the rim light fit well with the style, so I also put a strong rim light.
一旦我们准备好了网格，我们就可以渲染它了。当您想要快速渲染游戏就绪的网格时，Marmoset Toolbag 是一个很好的解决方案。对于转盘，渲染非常简单。我只放了 3 或 4 盏灯，一个主灯、一个补光和一个环境灯。而对于格温来说，轮辋灯很符合风格，所以我也放了一个强烈的轮辋灯。

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For the beauty shot, this is another story. I did some tests on Photoshop with a very quick render, just to try things with colors and composition. That’s how I ended up with the comic book idea for the background. So after studying some comic book covers, I finished the background. After that, I needed to render Gwen too, so she can fit with it.
对于美女镜头，这是另一回事。我在Photoshop上做了一些测试，渲染速度非常快，只是为了尝试颜色和构图。这就是我最终想到漫画书作为背景的想法的原因。所以在研究了一些漫画书封面之后，我完成了背景。在那之后，我也需要渲染格温，这样她才能适应它。

To do so, I added a background in Marmoset Toolbag and imported mine. I created a camera for the render and a camera for moving into the scene. To make it simpler, I split the viewport in half so I always have a viewport to move in the scene and another to constantly have the final render, with the background.
为此，我在狨猴工具箱中添加了一个背景并导入了我的背景。我创建了一个用于渲染的摄像机和一个用于移动到场景中的摄像机。为了更简单，我将视口分成两半，这样我总是有一个视口在场景中移动，另一个视口不断进行最终渲染，并带有背景。

Since the background is very flashy, I don’t want Gwen to be lit the same way because it will look weird. So I decided to make her pop up from the background with a strong rim light like we have in a lot of comic book covers. And that’s basically all. I just take care that every light looks good alone, and I remove all effects on the camera because I want to have full control of these effects in Photoshop later on.
由于背景非常华丽，我不希望格温以同样的方式被照亮，因为它看起来很奇怪。所以我决定让她从背景中弹出一个强烈的边缘光，就像我们在很多漫画书封面中所做的那样。这基本上就是全部。我只是注意每个灯光单独看起来都不错，我删除了相机上的所有效果，因为我想稍后在 Photoshop 中完全控制这些效果。

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Post-Production 后期制作

Now it’s time for the post process! And that is a very important thing in a Spider-verse style. It’s always the same thing. I look at screenshots; I analyze how they stylized the lights, the shadows, the colors, the effects on the sides etc, and I apply what works with my character.
现在是时候进行后期处理了！这在蜘蛛诗风格中是非常重要的事情。这总是一回事。我看截图;我分析他们如何风格化灯光，阴影，颜色，侧面的效果等，并应用适合我的角色。

This is how I ended up with hatches in the shadows, little dots to make the transition of the lights, chromatic aberration, etc. By the way, every effect is handmade. I’m pretty bad with Photoshop tools, so I created all the patterns I needed and placed everything by hand. Probably not the best way of working, but I like to have full control of what I do.
这就是我最终在阴影中设置阴影、小点来过渡灯光、色差等的方式。顺便说一下，每个效果都是手工制作的。我对Photoshop工具很糟糕，所以我创建了我需要的所有图案，并手动放置了所有内容。可能不是最好的工作方式，但我喜欢完全控制我的工作。

And the last part is the feedback. I’m lucky enough to have great friends in the game industry, so I asked them what they think of it, and they spot things I don't always see.
最后一部分是反馈。我很幸运在游戏行业有很好的朋友，所以我问他们怎么看，他们发现了我并不总是看到的东西。

Conclusion 结论

The entire project took me a week, but I started with a Basemesh for the head and the body (the suit), and I also had a base for the hairs.
整个项目花了我一周的时间，但我从头部和身体（套装）的 Basemesh 开始，我还有一个头发的底座。

People imagine that it's capturing the style that is the most difficult, but I had to do it a lot these past months with the Fang project and with my last job at Quantic Dream. So it wasn't that hard. The challenge here was the post-process. I'm 24, but I'm an old-school artist, so I don't use Photoshop brushes or effects, and it was hard to do exactly what I had in mind on a project that needed a lot of effects.
人们认为它捕捉了最困难的风格，但在过去的几个月里，我不得不在Fang项目和我在Quantic Dream的最后一份工作中做很多事情。所以这并不难。这里的挑战是后期处理。我今年24岁，但我是一个老派艺术家，所以我不使用Photoshop画笔或效果，在一个需要大量效果的项目中，很难完全按照我的想法去做。

I'm still pretty young, even if I started early, so I don't feel comfortable giving advice to Character Artists, but I would say not to be afraid to fail. Take your time to find solutions to your problems, do things right, and focus on quality instead of quantity.
即使我开始得很早，我还很年轻，所以我不愿意给角色艺术家提供建议，但我想说不要害怕失败。花点时间找到解决问题的方法，把事情做好，专注于质量而不是数量。

Clément Néca, Character Artist
克莱门特·内卡，角色艺术家Interview conducted by Theodore McKenzie
采访由西奥多·麦肯齐进行

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