人形昆蟲的制作

Jorge Castillo分享他的ZBrush創(chuàng)建人形昆蟲工作流程...

Jorge Castillo shares his ZBrush workflow for creating a humanoid insect...

Step 1: Concept

The hardest part of this process is to create something from nothing. For that reason, I get my inspiration from different web-pages, look at different artists and concepts for inspiration, and also draw ideas from books, movies, and video games.

My goal here was to design a humanoid insect. My starting point was asking myself a series of question, such as: What is the role of this creature? Is it hostile? Is it a worker insect, or a warrior, or maybe the colony's queen? I answered all these questions before I started drawing.

For The Bug, I began by analyzing real insects and crustaceans through sketching. I paid close attention to their segmented bodies, exoskeletons, number of limbs, and mouth types. Then I made my own creations by mixing and matching those features. I made some silhouette studies to understand the insects' proportions, and again tried to create new creatures by changing the size and shape of their body parts. With this exercise, I got a strong sense of what makes an insect an insect.

For this humanoid insect, I wanted it to be about 60% human (bipedal, with hands and fingers) and 40% insect (big beetle horn, claws and exoskeleton). I wanted a armored hunter.

步驟1：概念

這個(gè)過程最困難的部分是從無創(chuàng)造物。因此，我從不同的網(wǎng)頁獲得靈感，看看不同的藝術(shù)家和概念的靈感，也從書，電影和視頻游戲獲得想法。

我的目標(biāo)是設(shè)計(jì)一種人形昆蟲。我的出發(fā)點(diǎn)是問自己一系列問題，例如：這個(gè)生物的作用是什么？它是敵對(duì)的嗎？它是工蟻，還是戰(zhàn)士，還是殖民地的女王？我在開始繪畫之前回答了所有這些問題。

對(duì)于Bug，我開始通過草圖分析真正的昆蟲和甲殼類動(dòng)物。我密切關(guān)注他們分割的身體，外骨骼，四肢和嘴類型。然后我通過混合和匹配這些功能做了我自己的創(chuàng)作。我做了一些剪影研究，以了解昆蟲的比例，并再次嘗試通過改變身體部位的大小和形狀創(chuàng)造新的生物。通過這個(gè)練習(xí)，我對(duì)昆蟲是什么使昆蟲成為一種強(qiáng)烈的感覺。

對(duì)于這種人形昆蟲，我想要的是大約60％的人（雙足，用手和手指）和40％的昆蟲（大甲蟲角，爪和外骨骼）。我想要一個(gè)裝甲的獵人。

Step 2: Modeling

Once I was satisfied with the preliminary design, the next step was to sculpt. I used ZBrush and didn't have a specific technique to begin - I just started to sculpt the body from a 3D sphere. Then I made the first gesture of the body using DynaMesh (who doesn't love it?) with the help of the Move, Clay, and Dam_Standard brushes. I used ZSpheres for the limbs.

Once I had a skeleton defined, I created the adaptive skin, and with the Move brush I tried to build up the gesture, volume, and form of the different parts. At this stage, details don't matter; I am to work from the general to the particular. When the sculpting phase is completed, I used DynaMesh and tried to get more details, and define the big planes.

步驟2：建模

一旦我對(duì)初步設(shè)計(jì)感到滿意，下一步就是雕刻。 我使用ZBrush，沒有一個(gè)特定的技術(shù)開始 - 我剛剛開始從一個(gè)3D球體雕刻身體。 然后我使用DynaMesh（誰不愛它？）在Move，Clay和Dam_Standard畫筆的幫助下做了身體的第一個(gè)手勢。 我使用ZSpheres四肢。

一旦我有一個(gè)骨架定義，我創(chuàng)建了自適應(yīng)皮膚，與移動(dòng)畫筆，我試圖建立不同部分的手勢，體積和形式。 在這個(gè)階段，細(xì)節(jié)無關(guān)緊要; 我從一般到特定的工作。 當(dāng)?shù)窨屉A段完成后，我使用DynaMesh，并試圖獲得更多的細(xì)節(jié)，并定義大飛機(jī)。

The first pass on the legs looked exactly like the sketch, but in 3D they looked more like chicken legs! So I started again on a new design that I would be happy with. (It doesn't matter how much time it takes - if the design does not look right, keep doing it until it feels right.) At this point I had the block-out ready for the adjustment of proportion, gesture, and size.

第一次通過腿看起來完全像草圖，但在3D他們看起來更像雞腿！ 所以我再次開始一個(gè)新的設(shè)計(jì)，我會(huì)很高興。 （無論需要多少時(shí)間 - 如果設(shè)計(jì)看起來不正確，請(qǐng)繼續(xù)這樣做，直到感覺正確。）在這一點(diǎn)上，我有阻塞，準(zhǔn)備調(diào)整比例，手勢和大小。

Step 3: Details - first pass

This is the first pass of details, using the Dam_Standard, Clay, Move and Inflate brushes to give more quality to the surfaces. While sculpting the exoskeleton, I kept in mind that it must provide protection and mobility. I divided the body into SubTools (head, chest, and abdomen) in order to make finer details later. Likewise, I divided all the limbs into three parts each.

Design constantly evolves: there is nothing stopping me from re-evaluating ratios and improving the creature. In this case, the central claws seemed very big to me, not in harmony with the rest, so I reduced their size. I wanted the outer hands to be those that caught the prey, and the central claws smaller, or something.

Once I was happy with what I saw, I continued to reassess the topology and add detail. I used ZBrush's great tool, ZRemesher, with the following process. With the creature all segmented, I took the hand for example, and made a duplicate. I applied ZRemesher to this duplicate (with default options), then Projected the subdivided hand and used DynaMesh. This resulted in a very manageable polygon count, along with a clean topology. So after doing this for all the body parts, we're ready for the fun part: details!

步驟3：詳細(xì)信息 - 第一遍

這是細(xì)節(jié)的第一遍，使用Dam_Standard，Clay，Move和Inflate刷子給表面更多的質(zhì)量。在雕刻外骨骼時(shí)，我記住它必須提供保護(hù)和流動(dòng)性。我將身體分為SubTools（頭，胸部和腹部），以便稍后制作更細(xì)致的細(xì)節(jié)。同樣，我把所有的肢體分為三部分。

設(shè)計(jì)不斷演變：沒有什么能阻止我重新評(píng)估比率和改善生物。在這種情況下，中爪看起來對(duì)我很大，不和其余的和諧，所以我減少了他們的大小。我想外面的手是那些捕捉獵物的，和中央爪更小，或什么。

一旦我對(duì)我所看到的滿意，我就繼續(xù)重新評(píng)估拓?fù)洳⑻砑蛹?xì)節(jié)。我使用ZBrush的偉大的工具，ZRemesher，與以下過程。隨著生物全部分割，我拿了手為例，做了一個(gè)重復(fù)。我將ZRemesher應(yīng)用于此重復(fù)項(xiàng)（使用默認(rèn)選項(xiàng)），然后投影細(xì)分的手并使用DynaMesh。這導(dǎo)致一個(gè)非常易于管理的多邊形計(jì)數(shù)，以及一個(gè)干凈的拓?fù)�。所以�?duì)所有的身體部位這樣做后，我們準(zhǔn)備好了有趣的部分：細(xì)節(jié)！

Step 4: Details - second pass

For the details, I had a number of parts with over a million polygons apiece, for the alphas to look good. Using the Dam_Standard brush, I started making cuts on the surface, trying to follow the direction of the shape or the fibers, and using alphas (very simple ones such as Alpha 58 and Alpha 07). For the spikes, I used the Standard brush with DragRect stroke and Alpha 38 with high intensity.

When sculpting details, the key is to work in layers, thinking in areas of visual rest. I considered where the creature really needed certain elements, such as areas of the shell and body having more spikes for protection. Sometimes when we begin with the details, we just add details like crazy; instead, I tried to think in terms of three (large, medium and small) details, scattered around the area.

步驟4：詳細(xì)信息 - 第二遍

對(duì)于細(xì)節(jié)，我有一些零件有超過一百萬個(gè)多邊形，為alphas看起來不錯(cuò)。 使用Dam_Standard筆刷，我開始在表面上進(jìn)行切割，試圖沿著形狀或纖維的方向，并使用alphas（非常簡單的，如Alpha 58和Alpha 07）。 對(duì)于尖峰，我使用標(biāo)準(zhǔn)畫筆與DragRect筆畫和阿爾法38高強(qiáng)度。

當(dāng)?shù)窨碳?xì)節(jié)時(shí)，關(guān)鍵是分層工作，在視覺休息的區(qū)域思考。 我認(rèn)為生物真的需要某些元素，如殼和身體的區(qū)域有更多的尖峰保護(hù)。 有時(shí)當(dāng)我們從細(xì)節(jié)開始，我們只是添加細(xì)節(jié)，如瘋狂; 相反，我試圖用三個(gè)（大，中，�。┘�(xì)節(jié)來思考，分散在該地區(qū)。

Once the details were ready, I ended up with a model with a very large weight of polygons, so I used Decimation Master on all parts before creating the pose. (The advantage of making an insect is that all its sections are separated anyway.)

一旦細(xì)節(jié)準(zhǔn)備好了，我最終得到一個(gè)具有非常大重量的多邊形的模型，所以我在創(chuàng)建姿勢之前使用了所有部分的抽取主。 （昆蟲的優(yōu)點(diǎn)是它的所有部分無論如何分離。）

Step 5: The pose

For the final pose I just used the Transpose tool. Because the creature is segmented, it no problem to simply move and rotate its limbs. It was difficult to decide the final pose and position of the camera, because the detail (on the back, for example) would be missed out of the final render.

Once happy with the pose, I saved the different parts of the creature as an .OBJ and exported it to 3ds Max for rescaling. I wanted to render it in KeyShot, where the illumination algorithms work best with real measurements. The floor is nothing special: just a stretched box, carved with rock alphas I found online and a ZBrush noise plug-in.

步驟5：姿勢

對(duì)于最后的姿勢，我只是使用轉(zhuǎn)置工具。 因?yàn)樯�物是分割的，所以簡單地移�?dòng)和旋轉(zhuǎn)它的四肢沒有問題。 這是很難決定相機(jī)的最終姿勢和位置，因?yàn)榧?xì)節(jié)（例如在背面）將被錯(cuò)過最終的渲染。

一旦對(duì)姿勢感到滿意，我將該生物的不同部分保存為.OBJ，并將其導(dǎo)出到3ds Max進(jìn)行重新縮放。 我想在KeyShot中渲染它，其中照明算法最適合實(shí)際測量。 地板沒有什么特別的：只是一個(gè)拉伸的盒子，雕刻與巖石alphas我發(fā)現(xiàn)在線和一個(gè)ZBrush噪聲插件。

Step 6: KeyShot

The software used for the final render was KeyShot, which is very easy and fast to use. I simply imported the creature, created a camera, and started to play with the materials and environments. I had no clear idea of what I wanted, so it was an opportunity for further exploration. While trying various materials, I discovered that the red velvet material made him look like a photomicrograph - like an image of a bug taken under a microscope - so this was my choice.

步驟6：KeyShot

用于最終渲染的軟件是KeyShot，這是非常容易和快速使用。 我只是導(dǎo)入了生物，創(chuàng)建了一個(gè)相機(jī)，并開始弄材料和環(huán)境。 我不知道我想要什么，所以這是一個(gè)進(jìn)一步探索的機(jī)會(huì)。 在嘗試各種材料時(shí)，我發(fā)現(xiàn)紅色天鵝絨材料使他看起來像一張顯微鏡 - 像在顯微鏡下拍攝的一個(gè)臭蟲的圖像，所以這是我的選擇。

Step 7: Photoshop

When I finished rendering, I used Photoshop (the best friend of a graphic artist) to do final touches, amplify light, color correction, and contrast adjustment. I also added an almost shadowy background, thanks to cgtextures.com - different types of smoke were added to the image with transparency.

I hope you enjoyed this tutorial, and I hope I've been helpful for those who want to create creatures and need a clear starting point or defined workflow. Thank the reader for their support. Goodbye!

步驟7：Photoshop

當(dāng)我完成渲染，我使用Photoshop（圖形藝術(shù)家的最好的朋友）做最后的觸摸，放大光，顏色校正和對(duì)比度調(diào)整。 我還添加了一個(gè)幾乎陰暗的背景，感謝cgtextures.com - 不同類型的煙霧添加到圖像與透明度。

我希望你喜歡這個(gè)教程，我希望我已經(jīng)幫助那些誰想創(chuàng)建生物，需要一個(gè)明確的起點(diǎn)或定義的工作流。 感謝讀者的支持。 再見！

Top tip: Silhouettes

Silhouettes are very important, as they create the first impression that the audience will have of your creation. Use the V key to switch quickly between colors, so you can easily evaluate your silhouette while you work. When you create details, try changing materials too (matte, bright) so you can see better how the surface's sculpting looks.

頂部提示：剪影

剪影非常重要，因?yàn)樗麄兪?span style="color: rgb(0, 0, 0); font-family: 微軟雅黑, 宋體; font-size: 14px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: auto; text-align: start; text-indent: 20px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px; -webkit-text-stroke-width: 0px; display: inline !important; float: none; background-color: rgb(255, 255, 255);">觀眾對(duì)你的創(chuàng)作得第一印象， 使用V鍵在顏色之間快速切換，以便您可以在工作時(shí)輕松評(píng)估您的輪廓。 當(dāng)您創(chuàng)建細(xì)節(jié)時(shí)，嘗試更改材料（粗糙，明亮），以便您可以更好地看到表面的雕刻外觀。