ZBrush生物設(shè)計(jì)工作流程

Alvaro Ribeiro向我們展示了他如何使用ZBrush和Photoshop制作2D生物概念

Alvaro Ribeiro shows us how he translated a Jerad S. Marantz 2D creature concept using ZBrush and Photoshop...

Choosing the concept

The very first step was to choose the concept. I wanted to practice my skills in ZBrush, so I set out to find something very organic, like a monster. After a long search, I found this very interesting concept by Jerad S. Marantz.

選擇概念

第一步是選擇這個(gè)概念。 我想在ZBrush練習(xí)我的技能，所以我開始找到一個(gè)非常有機(jī)的東西，就像一個(gè)怪物。 經(jīng)過漫長(zhǎng)的搜索，我發(fā)現(xiàn)了這個(gè)非常有趣的概念，Jerad S. Marantz。

Creating the base mesh

After choosing the concept, I created a base mesh to start the sculpture. I could have created the base mesh using the fantastic tool DynaMesh, but in this case, I created the entire base in 3ds Max. This base mesh only has the basic shape of the creature, without any detail.

創(chuàng)建基礎(chǔ)網(wǎng)格

選擇這個(gè)概念后，我創(chuàng)建了一個(gè)基礎(chǔ)網(wǎng)格來開始雕塑。 我可以使用夢(mèng)幻工具DynaMesh創(chuàng)建基礎(chǔ)網(wǎng)格，但在這種情況下，我在3ds Max中創(chuàng)建了整個(gè)基礎(chǔ)。 這個(gè)基礎(chǔ)網(wǎng)格只有生物的基本形狀，沒有任何細(xì)節(jié)。

Perfecting the pose

With the base mesh already in ZBrush, I imported the concept image and added it into the spotlight. Next, I positioned the concept on the base mesh and tried to find the same angle in both of them. It doesn't need to fit perfectly; it's only a reference for the proportions and forms. To save this custom camera view in ZBrush, I used the tool called ZAppLink.

完善姿勢(shì)

使用ZBrush中的基本網(wǎng)格，我導(dǎo)入了概念圖像并將其添加到了聚光燈下。 接下來，我將這個(gè)概念定位在基礎(chǔ)網(wǎng)格上，并嘗試在兩者中找到相同的角度。 它不需要完美; 它只是比例和形式的參考。 要在ZBrush中保存自定義相機(jī)視圖，我使用了名為ZAppLink的工具。

Using brushes

With the concept on the base mesh, it was then time to sculpt. At the beginning, I used the Move brush a lot, to get the right proportions of the creature. The process of sculpting doesn't have any secrets, you have only to pay attention to the proportions, anatomy and forms and keep working on it. In this step, I basically used the following brushes: Standard, DamStandard, Clay, Move and Inflate.

It is always good to work as much as possible in a lower subdivision level before dividing the mesh, because that way you have better control of the main forms and the mesh density. A lot of people divide the mesh multiple times at the beginning of the sculpting to add detail, and forget the most important element of the model, which is the basic shape.

用刷子

隨著基礎(chǔ)網(wǎng)格的概念，現(xiàn)在是時(shí)候雕刻了。 一開始，我用了很多的Move畫筆，來獲得正確的比例。 雕塑的過程沒有任何秘密，你只需要注意比例，解剖和形式，并繼續(xù)努力。 在這一步中，我基本上使用以下畫筆：標(biāo)準(zhǔn)，DamStandard，粘土，移動(dòng)和充氣。

在分割網(wǎng)格之前，在較低的細(xì)分級(jí)別下盡可能多地進(jìn)行工作總是很好，因?yàn)槟�可以更好地控制主要形式和網(wǎng)格密度。 許多人在雕刻開始時(shí)多次分割網(wǎng)格以添加細(xì)節(jié)，并忘記模型中最重要的元素，這是基本的形狀。

Adding detail

With a solid sculpture, and good proportions and anatomy, I started to add the details. At the beginning, I made larger details, like skin folds, veins and imperfections. To do that, I used mostly the DamStandard and the Standard brushes. In this step, it is important to break the symmetry of the model and to make it look as natural possible. Before going into the smaller details, I posed the character using the Transpose Master tool, which is very simple and powerful.

添加細(xì)節(jié)

有一個(gè)堅(jiān)實(shí)的雕塑，比例和解剖結(jié)構(gòu)，我開始添加細(xì)節(jié)。 一開始，我做了更大的細(xì)節(jié)，如皮膚褶皺，靜脈和瑕疵。 為此，我主要使用DamStandard和標(biāo)準(zhǔn)畫筆。 在這個(gè)步驟中，重要的是打破模型的對(duì)稱性，并使其看上去是可能的。 在進(jìn)入較小的細(xì)節(jié)之前，我使用Transpose Master工具提出了這個(gè)角色，這是非常簡(jiǎn)單和強(qiáng)大的。

Skin texture

After I finished the main details of the character and posed it, it was time to create the smaller details, which give the final touches to the piece. In this step, I used the DamStandard brush again, but with a smaller size, and to make the pores and give the skin a nice texture, I used the Standard brush, with DragRect and some alphas. ZBrush comes with some great alphas, but sometimes I have to create my own using Photoshop.

肌理

在我完成了角色的主要細(xì)節(jié)并提出了之后，現(xiàn)在是創(chuàng)建更小的細(xì)節(jié)的時(shí)候了，這給了最后的一點(diǎn)。 在這一步中，我再次使用了DamStandard筆刷，但是尺寸較小，并且使毛孔和皮膚賦予了不錯(cuò)的質(zhì)感，所以我使用了標(biāo)準(zhǔn)畫筆，DragRect和一些alphas。 ZBrush帶有一些很棒的阿爾法，但有時(shí)我必須使用Photoshop創(chuàng)建我自己的。

Using Fibermesh

At the end, I had to do the hair. To do this, I used the Fibermesh tool in ZBrush. In this step, I painted masks in its arms and back, in order to have hair only in those regions. After playing around with the parameters from Fibermesh, I ended up with a good result.

使用Fibermesh

最后，我不得不做頭發(fā)。 為此，我在ZBrush中使用了Fibermesh工具。 在這一步中，我將手套背面涂上面罩，以便僅在這些地區(qū)才有頭發(fā)。 在播放Fibermesh的參數(shù)之后，最終取得了很好的成績(jī)。

Making the texture

To make the texture, I searched for references of what color I should use, as the concept I chose was black and white. I ended up using a creature concept from the same artist as a reference.

In this model, I didn't use UVs, I used only Polypaint from ZBrush. I started by painting the basic colors, without worrying about the details. With the base painted, I started to add the details, like small veins, imperfections and spots. In this step, it is interesting to use the tool Projection Master to bring your model into Photoshop and add details with real photos and different layers and blending modes. Another great way to add details to your texture is to make a Mask by Cavity, which allows you to paint pores and wrinkles with a lot of precision.

制作紋理

為了制作紋理，我搜索了我應(yīng)該使用什么顏色的參考，因?yàn)槲疫x擇的概念是黑色和白色。 我最終用同一位藝術(shù)家的生物概念作為參考。

在這個(gè)模型中，我沒有使用紫外線，我只使用來自ZBrush的Polypaint。 我開始畫基本的顏色，而不用擔(dān)心細(xì)節(jié)。 隨著畫底，我開始添加細(xì)節(jié)，如小靜脈，瑕疵和斑點(diǎn)。 在這一步中，使用Projection Master工具將您的模型帶入Photoshop并添加具有真實(shí)照片和不同圖層和混合模式的細(xì)節(jié)是非常有趣的。 向紋理添加細(xì)節(jié)的另一個(gè)好方法就是制作一個(gè)“Cavity”面罩，這樣可以很好地畫出毛孔和皺紋。

Rendering and lighting

Finally it is time to render! In this case, it was the first render that I had done in ZBrush and I thought the final result was really interesting.

First, I chose the positioning of the camera and locked it using the ZAppLink. With the camera locked, it was time to illuminate the scene. It is possible to place multiple lights in ZBrush, but sometimes it doesn't work very well. In this case, I used the method of placing the default light in a determined position, like to the right of the model, then I rendered the scene (BPR render), and saved this render to use later as a pass. After that, I did that same process again multiple times and just placed the lights in a different position, before rendering and saving the render.

For this character, I used a simple custom material that I created by blending a Basic Material and a Skin Shade Material. To create reflexes, like in the eyes, I rendered passes using different materials, with reflexes on it. After doing this a few times, I had several render passes, with different lights and materials.

渲染和照明

最后是時(shí)候渲染了！在這種情況下，這是我在ZBrush中做過的第一個(gè)渲染，我認(rèn)為最終的結(jié)果非常有趣。

首先，我選擇了相機(jī)的定位并使用ZAppLink進(jìn)行了鎖定。相機(jī)鎖定后，現(xiàn)在是照亮場(chǎng)景的時(shí)候了。可以在ZBrush中放置多個(gè)燈，但有時(shí)它不能很好地工作。在這種情況下，我使用將默認(rèn)光放置在確定位置（如模型右側(cè)）的方法，然后渲染場(chǎng)景（BPR渲染），并將此渲染保存為稍后使用。之后，我再次進(jìn)行了相同的過程，只是將光放在不同的位置，然后渲染并保存渲染。

對(duì)于這個(gè)角色，我使用了通過混合基本材質(zhì)和皮膚遮蔽材料創(chuàng)建的簡(jiǎn)單的自定義材質(zhì)。為了創(chuàng)造反射，像在眼睛里，我使用不同的材料，反射反射。做了幾次之后，我有幾個(gè)渲染過程，有不同的燈光和材料。

Blending passes

I used Photoshop to bring all of these images together. I used one of the images with a basic illumination on it as a base and put all the other images on the top of it, as different layers. As I wanted to have only the light of each render working on the base, I changed the blending mode of each layer to Screen.

For other passes, like Ambient Occlusion and Reflections, I had to use different blending modes. In this step, there is no rule. You can play with different layers, effects and passes until you get a good result.

混合通行證

我使用Photoshop將所有這些圖像放在一起。 我使用其中一個(gè)具有基本照明的圖像作為基礎(chǔ)，并將所有其他圖像放在其頂部，作為不同的層。 因?yàn)槲抑幌胱屆總�(gè)渲染的光線在基礎(chǔ)上工作，所以我將每個(gè)圖層的混合模式更改為屏幕。

對(duì)于其他通行證，如環(huán)境遮擋和反射，我不得不使用不同的混合模式。 在這一步，沒有規(guī)則。 你可以用不同的層次，效果和傳球，直到你得到一個(gè)很好的結(jié)果。

Finishing touches

When the set of layers was done and my creature was lit with a good illumination, I did some basic post-production. I played with image contrast, color correction and fixed some issues. After that, I painted the creature's saliva with simple brushes. When the creature was finished, I only had to create a basic background and add some smoke to the scene!

That's it guys! This was the workflow that I used to create my creature in ZBrush. Certainly there are a lot of different ways to make this kind of work, you have only to test and adapt to one workflow that you like. I hope that you have enjoyed this overview! Thanks!

整理

當(dāng)一套層次完成，我的生物照亮?xí)r，我做了一些基本的后期制作。 我用圖像對(duì)比，顏色校正和修復(fù)了一些問題。 之后，我用簡(jiǎn)單的畫筆畫了生物的唾液。 當(dāng)生物完成后，我只需要?jiǎng)?chuàng)建一個(gè)基本的背景，并為現(xiàn)場(chǎng)添加一些煙霧！

這就是家伙！ 這是我用來在ZBrush中創(chuàng)建我的生物的工作流程。 當(dāng)然，有很多不同的方式來做這樣的工作，你只需要測(cè)試和適應(yīng)一個(gè)你喜歡的工作流程。 我希望你喜歡這個(gè)概述！ 謝謝！